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JL ^ ^fl^^ A BREWSTER PUBLICATIO..

Notion Pkthdf

THE qUALITY MAGAZINE OF THE SCREEN

AUGUST MAGAZINE

25CTS

ALBERT
VARGAS

MY STORY
by

[EATRICE JOY

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/Vnna Q.Nilsson

^f^v

■ ■BEST \*1

THE INCUBATOR

OF GENIUS

time -for

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pmonalittf

The characters on the bottle of Nuit de Chine, illus-
trated, are from a curious Chinese document, the lit-
eral translation being "Night in the Country of
China (.Kingdom of Flowers') , sweet smelling odour."
In its own poetic way descriptive of the soft scented
night of the East. One of Poire t's selections from the
Perfumes ofRosine.

Poirjet, Himself, Tells You How

YOU MAY SELECT IT

TOIRET, the artist he who has learned
to express a woman's individuality in
beautiful lines, in colour, in fabrics
— Poiret has turned to perfumes.

By the quaint, unique bottles, flacons -
by the wrappings of these strange new
odours and beautiful seems, he shows you
how best to express your own individu-
ality, in perfume.

He has studied the personality of woman.
And he has found a perfume for each type.
Now he offers a new way for each woman
to find the perfume which best suits her.
Which expresses her own particular style.

HOW TO SELECT YOUR SCENT

50 from the perfumes of Rosine, hehas se-
lected those that he wants. And for each

of those chosen the exotic, the inspiring,

the wicked he has designed a distinctive

bottle or wrapping. As an example, the Nuit
de Chine — illustrated — whose oriental
odour is unlike anything ever known before.
And each package is so cleverly contrived,

that the mere fact that it appeals to a wo-
man, Poiret says, indicates that it is the one
for her to wear. And so with all the others.

For Poiret has studied women. He has
clothed them with an eye for the exquis-
ite which is his, and his alone. His frocks
grace the slender bodies of princesses.
Women come from world's ends to be
draped by his skilful hands.

EXPRESSING A WOMAN'S
INDIVIDUALITY

5O it is but natural that his mind should
study the other ways for woman to ex-
press her personality. His mind, that of
the student; his eye, that of the artist. His
imagination — that of POIRET.

Each of the lovely flacons, beautiful bottles
— wonderful trappings — he designed ex-
pressly for the perfume it contains. And
each perfume for a type.

Thus it is made easy for you to identify by
the wrappings, or the flacon, the perfume
that is within. The one which expresses
your personality. Subtly, discreetly— as you
would have it expressed. Telling a little,
promising much betraying nothing.

CDOIRET himself says: "These parfums, I

•*• offer you, mes amis, in confidence that

they will do for your soul what my gowns

have done for your bodies. It is true that

they are tres expensive but what

would you? Are they not parfums of the
rarest excellence? Parfums by which you
may at last accurately reflect your character,
your personality? And with the little
wrappings and flacons which I, Paul
Poiret, have designed with the same care
as my most ravishing costume?"

In the more exclusive shops of your city
the perfumes of Rosine will be found for
sale, in the packings that Poiret himselt
designed for them. Each with its own
raison d'etre, each you can identify. Or we
will refer you to the dealer who sells
them, if you will but write.

THE CHANDON COMPANY, 509 FIFTH AVENUE, NEW YORK, EXCLUSIVE DISTRIBUTORS FOR THE UNITED STATES

M| .,0TION PICTURr

01 I MAGAZINE

Summers heat only emphasizes the cool
perfection of a Skin that's Twin*Creamed!

IT is hot, destroyingly hot. The
sultry air stands still. The sun
is a red ball of fire going down
behind the hills, but leaving prom-
ise of a wilting night. Then, most
wonderful of sensations, comes a
cool little breeze, escaped from the
shadows of evening. Delightfully
it caresses your fevered cheeks and
instantly the whole world seems
different.

So it is with Princess Pat Twin Creams.
At their touch the skin grows deliciously
cool. The heat flush, the stickiness, vanish.
Fresh, velvety softness replaces the drawn
harshness induced by summer's heat.
Such is the effect of pore control, the
entirely new, scientific principle which
makes Princess Pat Twin Creams a differ-
ent complexion treatment than may be
had with any other creams in the world.
"Twin-Creaming" keeps the pores always
of normal size, giving the soft, fine-grained
skin texture which is the ardent desire of
every woman's heart.

A Skin of Cool Beauty

The improved Princess Pat Complexion
Method — doubly advantageous in hot
weather — is simplicity itself. There is one
cream to nourish and rejuvenate; another
to cool the skin and close the pores. They
work together. Princess Pat Cream is ap-
plied first, Princess Pat Ice Astringent
right over it. Then both are wiped com-
pletely away.

You will see the advantage over ordinary
penetrating astringents. Princess Pat
Ice Astringent gives its closing, cooling,
tonic effect without going into the pores.
Little globules of cool moisture, forming

on the surface, prove this. You do not
rub the Astringent in. After it has acted
you wipe it entirely away.
The trouble heretofore has always been in
attempting the impossible. Nourishing
oils and astringent ingredients cannot be
effectively combined in one cream. The
astringent element acts first and closes
the pores before they are nourished. And to
use an astringent without previously nour-
ishing the skin has the effect of choking
the pores by the "rubbing in" process.
So you see how beautifully Princess Pat
Twin-Creaming solves the greatest of all
complexion questions — how to properly
keep the pores normally closed at all
times, yet constantly softened and made
pliant by beneficial oils that keep the
skin structure aglow with rosy health.

The Blessing of Pore Control
In Summer

The year 'round, Princess Pat Twin Creams
are a boon to every type of skin. But in
summer! Your skin under this treatment
becomes as rarely beautiful and fine as
flowerpetalsopeningin the garden of a cool,
dewy morning. There is simply nothing
comparable to the effect this treatment
will accomplish for all complexions.
"I call Princess Pat my 'Twenty Degrees
Cooler Treatment, " wrote one woman
who enjoyed it last summer. And you'll
feel the same this summer with this per-
fect complexion method.
And wait until you powder! No "rubbed
in" base, remember; just closed pores and
a cool, smooth skin. But the powder goes
on as smoothly as your own skin — and it
will cling closer and longer than you would
have imagined possible from anything in
your past experience.

Use of Twin Creams, and careful powderin
greatly assists in preventing tan.
There is, indeed, a new summer joy to 1
found in Princess Pat Twin Creams and yi
are invited to make your own personal test
accordance with the offer below.

nnce

PRINCESS PAT, Ltd., Chicago, U. S. A.

Princess Pat Creams, Ice Astringent, Princess Pat Tint, Lip Stick, Powder, Princess Pat Perfume

Refreshing as An Ocean Breeze

There's a new sensation for you who
may not have experienced the mar-
velous treatment that Twin Creams
brought into being! Summer cannot
blight the beauty you can woo and win
through the Princess Pat method.
Here's all you do; apply a bit of the

first cream (both creams for the trial are free
for the asking, as seen below) and leave it on
temporarily. Then apply the second cream —
the Ice Astringent — and an indescribable cool-
ness is felt. The coolness cf ice — but not the
shock! Wipe both creams completely off.
Your skin is then proof against the day when
even the air itself seems sticky.

Free Trial!

Until the shops have been ''sufficiently stocked
with Princess Pat Twin Creams to meet all calls
for them, we shall take pleasure in sending to
individuals a 10 days' supply — without charge.

PRINCESS PAT, Ltd.

2701 S. Wells St., Dept. 28, Chicago

Entirely FREE, please forward me postpaid*
a 10 days' supply of the new Princess Pat
Twin Creams.

Name (Print) . .

Street

City and State .

".MOTION PICTURP
611 I MAGAZINE •-

^l****^

^~Tradi

MOTION PICTURE PROGRESS

DEPENDS ON THE ENTERTAINMENT IDEALS

OF THE GREATEST ORGANIZATION IN

THE INDUSTRY

r ARAMOUNT entertainment values, as instanced
by Cruze's "The Covered Wagon," and De Mille's
"The Ten Commandments," and a long list of
progressively greater pictures, are your assurance that
if it's a Paramount Picture, it's the best show in

NEW PARAMOUNT PICTURES

Produced by Famous Players-Lasky Corporation

Adolph Zukor and Jesse L. Lasky present
"THE FIGHTING COWARD"

A JAMES CRUZE Production with Ernest Torrence, Mary Astor,

Cullen Landis, Phyllis Haver, Noah Beery. By Booth Tarkington.

Adapted by Walter Woods.

Adolph Zukor and Jesse L. Lasky present
"THE DAWN OF A TOMORROW"

A GEORGE MELFORD Production with Jacqueline Logan, David

Torrence, Raymond Griffith. From the novel and play by Frances Hodgson

Burnett. Screen play by Harvey Thew.

Adolph Zukor and Jesse L. Lasky present

THOMAS MEIGHAN in "THE CONFIDENCE MAN"

From the story by L. Y. Erskine and R. H. Davis. Directed by Victor

Heerman. Screen play by Paul Sloane.

Adolph Zukor and Jesse L. Lasky present
CECIL B. DeMILLE'S PRODUCTION "TRIUMPH"

With Leatrice Joy, Rod La Rocque, Victor Varconi, Charles Ogle, Julia

Faye, Theodore Kosloff, Robert Edeson, Zasu Pitts, George Fawcett and

Raymond Hatton. Screen play by Jeanie Macpherson. From the story by

May Edginton,

Adolph Zukor and Jesse L. Lasky present
"THE BREAKING POINT"

A HERBERT BRENON Production with Nita Naldi, Patsy Ruth

Miller, George Fawcett, Matt Moore. From the novel and play by Mary

Roberts Rinehart. Screen play by Julie Heme and Edfrid Bingham.

Adolph Zukor and Jesse L. Lasky present

"BLUFF"

A SAM WOOD Production -with Agnes Ayres and Antonio Moreno.

From the story by RITA WEIMAN and JOSEPHINE L. QUIRK.

Screen play by Willis Goldbeck.

Adolph Zukor and Jesse L. Lasky present
"TIGER LOVE"

A GEORGE MELFORD Production with Antonio Moreno and Estelle

Taylor. From the play by Manuel Penella. Screen play by Howard

Hawks.

Adolph Zukor and Jesse L. Lasky present

POLA NEGRI in "MEN"

A DIMITRI BUCHOWETZKI Production. From the story by Dimitri

Buchowetzki. Screen play by Paul Bern.

Iage

tyarximountcpLctures

JUL -7*24

A BREWSTER PUBLICATION

Motion Picture Magazine

The Quality JVlagazine of the Screen

AUGUST

TABLE OF CONTENTS

SPECIAL FEATURES

We Interview Mary Gladys Hall and Adele Whitely Fletcher 20

My Story Leatrice Joy 26

From the time I left New Orleans to seek my fortune rather than remain a poor
relation.

The Designer's Dreams Come True 30

The Incubator of Genius Harry Carr 37

FICTION

Cytherea Janet Reid 32

The Girl Who Couldn't Be Bad Henry Albert Phillips 45

OTHER CONTENTS
Gallery of Players 11

Gravure portraits of Julanne Johnston, Betty Blythe, Lon Chaney, Helen Ferguson,
Adolphe Menjou, Mary Philbin, Ernest Torrence, Clara Bow and Doris Kenyon.

Two Portraits 23

Camera studies of Dorothy Gish and Ronald Colman in "Romola."

The Rarest of Sensations 24

A critical estimate of Ramon Novarro by a friend.

For a Baby Faith Baldwin 29

The Movie Studio Drama Helen Carlisle 39

The Men Who Light the Stars 40

Giving a little credit to the cameramen to whom so much credit is due.

Now Comes Another "Revelation" 42

Viola Dana essays the role which brought Alia her fame.

Seena Owen's Little Girl 43

Vignettes of the Studios Sally Steele 44

A glowing word-picture of the Mack Sennett lot.

Director, Actor, Sculptor, Artist 50

On the Camera Lines 54

During the filming of "Janice Meredith."

Pola Swears Allegiance 62

The Conquering Hero of the Ring Comes to the Movjes 64

The Way to Keep Fit 66

The Keatons Present Baby Robert 67

East Is West 70

In the New York Theater, where Morris Gest presents Doug in "The Thief of
Bagdad."

Merton Comes Home 71

DEPARTMENTS
In the Footsteps of "Tol'able David" 9

Editorial.

That's Out Tamar Lane 51

The Editor Gossips 53

Across the Silversheet Adele Whitely Fletcher 57

Comment on New Pictures The Staff 58

Letters to the Editor 65

On the Camera Coast Harry Carr 68

Our Reporter's Notebook Ruth G. Bowman 72

Published Monthly by the Brewster

Publications, Inc. (A New York

Corporation), at 18410 Jamaica Ave.,

Jamaica, N. Y.

Executive and Editorial Offices :

Brewster Buildings, 175 Duffield St.,

Brooklyn, N. Y.

Entered at the Post Office at Jamaica, N- Y., as

second-class matter, under the act of

March 3rd, 1&70.

PRINTED IN THE U. S. A.

Subscription $2.50 a year in advance, in-
cluding postage in United States, Cuba,
Mexico and Philippines ; in Canada $3.00 ;
and foreign countries $3.50 a year. Single
copies 25 cents, postage prepaid. U. S.
Government stamps accepted. Subscribers
must notify us at once of any change of
address, giving both old and new address.

Eugene V. Brewster
President and Editor-in-Chief

Duncan A. Dobie, Jr.
Vice-President and Business Manager

George J. Tresham
Circulation Director

Adele Whitely Fletcher
Managing Editor

E. M. Heinemann, Secretary
L. G. Conlon, Treasurer

A. M. Hopfmuller, Art Director

Harry Carr
Pacific Coast Representative

Also publishers of the Classic (Pictorial

of Screen and Stage), out on the twelfth

of each month; and Beauty, out on the

fifteenth.

Monte Blue Tells Intimate Tkings

Would you like to know why Monte Blue can take the part of one dramatic, thrilling
character after another and hit the bull's-eye of sincerity each time? Read the story of his
life by himself in the August Motion Picture and you will learn why.

Part Cherokee Indian and wholly he-man, he has traveled the country from end to end,
living these characters with as lavish a versatility in real life as he displays on the screen.

The story will be illustrated with studies of Monte Blue from the time of his childhood.

<ME!K

Manufacturers, Distributors and Studios of
Motion Pictures

NEW YORK CITY

Advanced Motion Picture Corp., 1493

Broadway
American Releasing Corp., IS W. 44th

Street
Arrow Film Corp., 220 W. 42nd St.
Associated Exhibitors, Inc., 35 W. 45th

Street
Ballin, Hugo, Productions, 366 Fifth

Ave.

Community Motion Picture Bureau, 46

West 24th St.
Consolidated Film Corp., 80 Fifth Ave.
Cosmopolitan Productions, 2478 Second

Ave.
C. C. Burr Prod, 135 W. 44th St.

Distinctive Prod, 366 Madison Ave.

(Biograph Studios, 807 E. 175th St.)
Educational Film Co, 729 Seventh Ave.
Export & Import Film Co, 729 Seventh

Ave.
Famous Players-Lasky, 485 Fifth Ave.

(Studio, 6th and Pierce Sts, Astoria,

L. I.)
Film Booking Offices, 723 Seventh Ave.
Film Guild, 8 W. 40th St.
Film Market, Inc., 563 Fifth Ave.
First National Exhibitors, Inc., 383

Madison Ave.
Fox Studios, Tenth Ave. and 55th St.

Gaumont Co, Congress Ave, Flushing,

L. I.
Goldwyn Pictures Corp, 469 Fifth Ave.
Graphic Film Corp, 729 Seventh Ave.
Griffith, D. W, Films, 1476 Broadway.

(Studio, Oriental Pt, Mamaroneck,

N. Y.)
Hodkinson, W. W, Film Corp, 469

Fifth Ave.
Inspiration Pictures, 565 Fifth Ave.
International Studios, 2478 Second Ave.
Jans Pictures, 729 Seventh Ave.
Jester Comedy Co, 220 W. 42nd St.

Kenna Film Corp, 1639 Broadway

Mastoden Films, 135 W. 44th St.

Metro Pictures, Loew Bldg., 1540

Broadway
Moss, B. S,. 1564 Broadway

Outiner Chester Pictures. 120 W. 4!st

Street

Pathe Exchange, 35 W. 45th St.

Preferred Pictures, 1650 Broadway

Prizma, Inc., 110 W. 40th St.

Pyramid Picture Corp, 150 W. 34th St.

Ritz-Carlton Prod, 6 W. 48th St.

Selznick Pictures, 729 Seventh Ave.

Sunshine Films, Inc., 140 W. 44th St.

Talmadge Film Corp, 1540 Broadway

Topics of the Day Film Co, 1562
Broadway

Triangle Distributing Corp, 1459
Broadway

Tully, Richard Walton, Prod, 1482
Broadway

United Artists, 729 Seventh Ave.

Universal Film Corp, 1600 Broadway

Vitagraph Films, East 16th St. and
Locust Ave, Brooklyn

Warner Bros, 1600 Broadway

West, Roland, Prod. Co., 236 W. 55th
Street

Whitman, Bennett, Prod, 537 River-
dale Ave.

OUT OF TOWN

American Film Co, 6227 Broadway,

Chicago, 111.
Bear State Film Co,, Hollywood, Calif.
Leah Baird Prod, Culver City, Calif.
Bennett, Chester, Prod, 3800 Mission

Rd, Los Angeles, Calif.
Charles Chaplin Studios, 1420 La Brea

-Ave, Los Angeles, Calif.
Century Comedies, 6100 Sunset Blvd.,

Hollywood, Calif.
Christie Film Corp, 6101 Sunset Blvd.,

Hollywood, Calif.
Commonwealth Pictures Corp, 220 So.

State St, Chicago, 111.
Coogan, Jackie, Prod, 5341 Melrose

Ave, Los Angeles, Calif.
Douglas Fairbanks Studios, Hollywood,

Calif.
Famous Players-Lasky Studios, 1520

Vine St, Hollywood, Calif.
Fox Studios, 1401 Western Ave, Holly-
wood, Calif.
Garson Studios, Inc., 1845 Glendale

Blvd., Los Angeles, Calif.
Goldwyn Studios, Culver City, Calif.
Grand-Asher Prod, 1438 Gower St.,

Hollywood, Calif.
Graf Prod, Inc., 315 Montgomery St.,

San Francisco, Calif.
Harold Lloyd Studios, 6642 Santa

Monica Blvd., Hollywood, Calif.
Ince Studios, Culver City, Calif.
MacDonald, Katherine, Prod, 945

Girard St, Los Angeles, Calif.
Mary Pickford Studios, Hollywood,

Calif.
Mayer, Louis B, Studios, 3800 Mis-
sion Rd, Los Angeles, Calif.
Metro Studios, 1025 Lillian Way, Los

Angeles, Calif.
Morosco, Oliver, Prod, 756 So. Broad-
way, Los Angeles, Calif.
Pacific Studios, San Mateo, Calif.
Pathe Freres, 1 Congress St, Jersey

City, N. J.
Ray, Charles, Studios, 1425 Fleming

St, Los Angeles, Calif.
Robertson-Cole Studios, 780 Gower St,

Los Angeles, Calif.
Roach, Hal E, Studios, Culver City,

Calif,
Roland, Ruth, Prod, Culver City, Calif.
Sawyer-Lubin Prod, 6912 Hollywood

Blvd., Hollywood, Calif.
Sennett, Mack, Studios, 1712 Glendale

Blvd., Los Angeles, Calif.
Sol Lesser Prod, 7250 Santa Monica

Blvd., Hollywood, Calif.
Stahl, John M, Prod, 3800 Mission

Rd, Los Angeles, Calif.
Stewart, Anita, Prod, 3800 Mission

Rd, Los Angeles, Calif.
Tourneur, Maurice, Prod, Ince Stu-
dios, Culver City, Calif.
Talmadge Prod, 5341 Melrose Ave,

Los Angeles, Calif.
United Studios, Inc., Los Angeles, Calif.
Universal Studios, Universal City,

Calif.
Vitagraph Studios, 1708 Talmadge St,

Hollywood, Calif.
Warner Bros, Bronson Ave. & Sunset

Blvd., Hollywood, Calif.
Weber, Lois, Prod, 6411 Hollywood

Blvd., Hollywood, Calif.
Wharton, Inc., Ithaca, New York

THE THIEF OF BAGDAD
By Faith Baldwin

Here's a most enchanted thing,

Snow-white horses on the wing,

And amazing rugs that fly

Over earth and under sky,

Here are villains, almond-eyed

Villains poker-stiff with pride !

Here's a hero who's a thief . . .

Steals your heart and then your grief!

Fairy pictures, fairy lights,
Magic days and magic nights,
Beasts and fire, battle-cries
Ancient wizards, bearded, wise . . .
And a Princess, flower-fair,
Pool-deep eyes and perfumed hair . . .
Music . . . laughter . . . hopes and fears
And the dreams of Other Years.

Bagdad . . .Bagdad . . . fare-you-well,
We shall never lose your spell,
In our hearts, a silver lance
Is the hurt of Old Romance . . .
Yours the magic rope must be
Binding us — to set us free —
Free from daytime fret and pain,
Free as children, once again.

SCENARIOS
By Jane Cuthreu,

Reams of paper, floods of ink, vats of

midnight oil,
Dreams like bubbled, fairy brew, always

on the boil,
Young hands, old hands, pulsing quick,

with the ancient spell,
Work and hope . . . and questioning . . .

"Surely it will sell!"

Stamps and envelopes and such . . . mail-
box on the street,

Drop it in and hear the thump — turn, re-
luctant feet. . . .

Then the waiting and the watch, vigilant
and long

With the never-dying hope like a bar of
song

"Surely it is better than this and this or

that!"
"If it brings a thousand in ... or two

thousand flat
I can buy such pretty things . . . travel

. . . build a house.. . .
Wait! Was that the postman's knock . . .

or a scratching mouse!"

Little, lost scenarios, wrought with loving
care,

Always coming home again, much the
worse for wear,

Dreams that will not, cannot die . . . hope-
ful bells that chime,

"Never mind, we'll try again . . . luck
another time !"

\G€.

Ihel I MAGAZINE \\

Published by First
National Pictures,
383 Madison Ave.,
N. Y. C. J. A.
Lincoln, Editor

NO convention in Amer-
ican political history
was more surprising or dra-
matic than the sudden en-
dorsement of Abe Lincoln for the presidency by the Illinois Republicans
in 1860. Lincoln, present as a spectator, was hoisted on shoulders and
carried to the platform. It was another climax in
his life — a life as romantic, as dramatic as that of any hero
of fiction.

Al and Ray Rockett have produced the wonder picture
of the year in "Abraham Lincoln." It is ideal entertain-
ment. There is an idyllic love story, heartbreak drama
and whimsical comedy. Above is George Billings in the
title role.

A Love Story's End

OOMANCE runs smoothly in
-*-*- some lives, but in others there's
no end of obstacles to be overcome.
And in the picture "For Sale" there
was a matrimonial auction block and
a pair of selfish parents blocking the
way to happiness.

Claire Windsor and Robert Ellis
are the happy ones in . the picture
above. Adolphe Menjou, Mary Carr
and Tully Marshall are others in the
cast who make the picture interesting.

"A Self Made Failure"

LLOYD HAMILTON, drafted from the
' ranks of hoboes to be a physical train-
ing instructor, supplies half the laughs in
J. K. McDonald's "A Self Made Failure."
Ben Alexander (on the left) is respon-
sible for the other fifty per cent.

PAG

1 PICTURE

AZINE L-

(SfflSSS!

f •

K "We are advertised by our loving friends" /5^=

aaacaBae

Mellin's Food

Janice R. Shugg,
Arlington, Mass.

Mellin's Food and milk will enable your
baby to have the healthy and robust
appearance so typical of all Mellin's Food
babies.

Write today for a Free Trial Bottle of

Mellin's Food and a copy of our book,

"The Care and Feeding of Infants."

Mellin's Food Co., 177 State St., Boston, Mass.

©C1B620300

Motion Picture Magazine

(Trade-mark Registered)

Founded krj) J. Stuart Blackton

AUGUST, 1924

Vol. XXVIII

In the Footsteps of "Tol'able David"

EVERYONE who saw Richard Barthelmess' "Tol'able David"
remembers the original climax of the fight scene between David
and the mountaineer villain. David and the villain were left in
the room in the middle of their struggle while the camera picked up
another scene. Then the door from that room was slowly opened and
the audience waited, breathless, to see who would come forth the victor.
Almost every critic took the trouble to mention this piece of business
in their review. The public talked about this treatment also. And what
is the result?

Ever since that time directors have been employing the same
climax to practically every fight they screen. We would hesitate to
say how many times we have seen this touch employed for fear of
being criticised for exaggeration. The last time we remember groaning
over it was in "Fool's Highway."

It never seems to dawn upon the directors who still use it that
this episode was effective the first time because of its originality. Later
versions of a door slowly opening to disclose a victorious combatant
have proved about as spontaneous, thrilling and as inspiring as a rubber
stamp signature must be to an autograph collector.

We give over our editorial page to this protest because we believe
that motion picture directors are too prone to joggle on in a beaten
track, wary of the untested and untried — harnessing their imagination
to a dollar sign in their obeisance to the things which have gone before
to prove "sure-fire" . . .

We admit that this door episode was clever — but we use the past
tense emphatically . . . and we pray to be delivered from more than
half a dozen more pictures in which the "Tol'able David" touch is
employed.

P/>

aMOTION PICTURF
VI I MAGAZINE L

What particular skin problem
are you facing ?

You can free your skin from blackheads by
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-. . . . i •/- i '*' l&i d sallow skin can be roused to color and

Begin, today, to have a beautiful s life by the special Woodbury steam

skin ! ^ treatment given below.

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Caricatures

JULANNE JOHNSTON

Douglas Fairbanks might have
searched every kingdom and he
would never have found a lovelier
princess for his magical "Thief of
Bagdad" than the fair Julanne
Johnston. She is the image of
every fairy princess in every fairy-
tale come true. . . . Now she is
giving her days to "Captain Fear-
less," in which Reginald Denny is
starred. This sounds like a far
hail from the old land of Bagdad

Photograph by Edwin Bower Hesser

Photograph by Nickolas Muray

BETTY BLYTHE

Betty has been a trans-Atlantic, commuter in the last two years.
That is why you haven't seen so much of her on your neigh-
borhood screen lately. When she returned to New York,
having made two films, one of them "Chu Chin Chow" in
Germany, she discovered that a cable called her back to
Europe for the purpose of again facing foreign cameras in
both France and Italy. Now she is in California, glad to rest
awhile in her canyon home. And her next picture will be
"The Spitfire"

Photograph by Richee

LON CHANEY

Every celebrity knows that only one thing is fatal ... not
being talked about. Criticism is better than indifference. As
the Hunchback of Notre Dame, Lon Chaney has been the
subject of much controversy. He has been both criticized and
lauded for the exaggerations of his portrayal. And his pop-
ularity has gone marching on with greater and greater strides.
Now he is playing the title-role in "He Who Gets Slapped,
a screen version of that whimsical play which delighted
New York theatergoers last season

Photograph by Evans, L. A.

HELEN FERGUSON

When Ruth Stonehouse was a star in the old Essanay days, Helen
Ferguson was one of the extras who dangled their feet from the wait-
ing bench in "Hopeful Alley." And now her perseverance, supple-
menting her very definite ability, has brought her to the place where
she then dreamed of being. Nothing is too much trouble for Helen. .
. , . When her Roman nose disqualified her for the role of the
Spanish siren in Douglas MacLean's "Never Say Die," Helen con-
sulted a surgeon. And the straight . nose in the above photograph
was the result . . . also the coveted siren's role

Photograph by Nickolas Muray

DORIS KENYON

Unlike most Jacks of all trades, Doris Kenyon does a number of things
and does them all exceedingly well. A few years from now, when her
vocal instruction is completed, she anticipates an operatic career. Electric
lights on Broadway frequently display her name as the star of a legitimate
production. Volumes of her delightful verse have been published . . . and
her screen presence is so unfailingly lovely that Valentino insisted upon
her for the role of Lady Mary Carlyle in "Monsieur Beaucaire"

IK.

Photograph by Campbell

"I'm afraid I'm not really great," said Mary Pickford. "I'm too normal. I like to have reasons — facts — for
what I do. And I think genius is comparable with abnormality. It is the gift given those who swing some-
where in the balance between the sane and insane"

We Interview Mary

An Interview Playlet in One Act and Three Scenes

THE CAST

America's Sweetheart Mary Pickford

We Gladys Hall and Adele Whitely Fletcher

Zorro Himself

Others : Secretary, Chauffeur, Servants, Crowds n' Crowds

Scene I

The dressing-room of the Hotel Ambassador, New York City. It is here that the
Pickford-Fairbanks entourage, including a cook, secretaries, a chauffeur and other servitors
attend Mr. and Mrs. Fairbanks, Mrs. Charlotte Pickford, mother of Mary, and little Mary
Pickford, niece of Mary, during their sojourn in New York.

Gladys Hall is discovered before the triple mirror of a French dressing-table, which
must be weary of so many similar optimistic scenes. She is wearily allying a noon-tide
glow to her early-morning face.

Adele Whitely Fletcher enters on sprightly heels. She registers sheer incredulity at
the sight of her confrere-in-interviewing .

^DELE WHITE LY

/\ FLETCHER (rub-

l \^ bing her eyes un-

^^ believingly) : My
Dear! Wasn't there a train
from your exclusive suburb to
bring you to town with some
degree of your usual tardiness.
Isn't this promptitude what is
known as stepping out of
character ?

Gladys Hall (considering
the preposterous shade of her
Up salve) : It behooves you to
maintain a discreet silence. I
arose at the indecent hour of
eight o'clock in order to make a
train which would bring me to
this inconsiderate rendezvous at
the hour of ten A. M. It is
now that hour — and past, if I
may say so.

In the future — pray — permit
me the liberty of making our
appointments.

A. W. F. (unperturbed,
knowing well the infirmities of
character which beset the genius
home) : Well . . . ah, well.
If I remember correctly, you
were the one most anxious to
do this story. You wanted it to
be on this month's check list.
Didn't you mention something
about sun-porch furniture. Or
was it the children's shoes again ?
They might be centipedes judg-
ing by your conversation.

Mary says she
must retire
gracefully. She
realizes she has
enjoyed star-
dom longer than
it is given to
anyone else to
enjoy it. She is
determined not
to overstay her
time

Photograph (above) by Campbell
Photograph (left) by Rahmn

Well . . . ah, well. Criticism will ever be the
reward of consideration. Heigh ho !

G. H. : My dear, no epigrams. They do not fit
the hour. And my feeble brain has all it can do
to support my hair.

But do you not descend' a trifle, my young intel-
lectual, my own altruist, when you stoop to this
application of cosmetics.

Why trouble, darling?

Doug probably will not be about. And if he is?
Mary's eyes are dark and large . . . Mary's 'hair
is golden . . . Mary's name is legion. . . .

A. W. F. (interrupting what promises to be a
rhapsody in innumerable cantos) : Are you ready?

G. H. : Huh, hun.

Scene II. — The living-room of the Fairbanks suite.
A secretary ushers the plastered (cosmetically speaking)
interviewers into the large room overlooking Park

PAfi

AMOTION PICTURT
ntl I MAGAZINE L

Photograph (above) by Campbell

Photograph (right) by International Newsreel

Mary Pickford scorns the writers of the motion pictures who

turn about to brand screen people in the fiction they write.

She loves pictures and promises to defend them with her

last breath

Above is Mary as
Dorothv Vernon
of Haddon Hall-
then as the news
p ho tog ra ph er s
caught her with
Doug when they
sailed on their
European holiday.
To the right, with
Elinor Glyn, Abra-
ham Lehr and
Carey Wilson at
the Goldwyn
studios

Avenue. It is less formal th^, hotel rooms are wont
to be. A radio stands near a v riting-desk. On every
available table and secretary boxes of cigarets and
matches lie open. Books. 1 here has evidently been
a birthday ... an anniversary ... a funeral . . -
something. For flowers are everywhere. The room
exhales the scents of rare greenhouses. A cluster of
sweet lilies-of-the-valley and sweet peas brighten the
desk. Tall silver vases are brilliant with red roses.
Violets nod from lesser corners.

A. W. F. (inhaling poetically) : The air is
sweet with them. . .

G. H. (determined to be adamant) : Always
so appreciative. So sensitive. It reminds me
of an open grave.

A. W. F. (ignoring the retort) : They're
birthday flowers. That card says Many Happy
Returns.

G. H. (in a superior manner) : Is it quite
the thing to — er — read . . .

(Mary's entrance silences her. Mary comes
swiftly with the shaggy Zorro at her heels.
The golden weight of her hair is coiled in three
loops about her head. Her frock is simple
. . . of dark blue atid banded with
ribbons of three colors. She wears

no jewels. Only the platinum
circlet of marriage adorns her
finger. She has never taken it off
since the afternoon Douglas
slipped it on.)

Mary (with gracious cordi-
ality) : Good morning, Miss Hall.
Good morning, Miss Fletcher.

G. H. (with tier first manifesta-
tion of affability) : Good morning,
Miss Pickford.

A. W. F. : Good morning, Miss
Pickford.

G. H. (avoiding A. W. F.'s
gimlet gaze) : We were just
(Continued on page 94)

22
at

Two

Portraits

^Presenting Dorothy
Gish and Ronald
Co/man in Scenes
from " Romola

Photographs by Albin

If many more companies decide in
favor of filming their stories with
European backgrounds in the
country in which they are laid,
the highways and byways of the
Old World will be as familiar to
us as our own cities and towns . . .

Once more, this time for the film-
ing of "Romola," Lillian Gish
chose Italy for her stage in prefer-
ence to erecting Italian scenes in
an American studio. These two
portraits arrived on a steamer as
we were about to go to press.
However, we have managed to in-
clude them in this issue, a
promise of the beauty and charm
which "Romola" will possess

23
PAG

The Rarest of Sensations

Editor's Note. — Editorially speaking, we are proud to print the following analysis of Ramon Novarro.

It is a critical estimate and intimate character study, such as only a friend could write. It presents

Mr. Novarro as he appears to one who was privileged to observe him thru months of close intimacy.

Therefore it is worth all the casual interviews which may ever be written of him

A NOTED critic after view-
ing "Scaramouche" wired
him : "You are the rarest
" of sensations — an artist."
Ferdinand Pinney Earle. intro-
ducing him to Rex Ingram in a
letter written on Columbus Day,
said simply : "My clear Rex, Co-
lumbus made a great discovery on
this day. I believe you will, too.
Here is an artist !"

And the volatile Ingram after re-
hearsing him briefly turned to his
casting director and cried, "My
God, why didn't you tell me there
was a Samaniegos in this world !"
Thus Ramon Gil Samaniegos, of

Ramon Novarro is not easy to know.
Solitary by instinct, he brings to mind
the words of Michelangelo: "I have no
friend of any kind and do not want any."
In the top panel he is seen with Alice
Terry in "The Arab." To the right, his
portrait in this title role

24
at

Photograph by Havrah

Durango, Mexico, sprang to fame
at the age of twenty-three and
was knighted Ramon Novarro
under the magic direction of Rex
Ingram.

So much for an external esti-
mate of Novarro as an artist, and
as such he must be considered if
he is to be understood.

But our particular way of deal-
ing with a man's art depends so
much on its relation to his private
life and on the chance of real in-
sight into that. With Novarro
such an insight explains and
justifies, better perhaps than his
work can as yet, the faith and
enthusiasm which he inspires in
those who know him intimately.

At the age of six he was study-
ing piano and voice under the
tutelage of his mother, a talented
musician. At the age of eight he
had a little marionette theater in
his home in Durango. At fourteen

he was giving public performances, adapting
novels into puppet pantomime and speaking for
characters in eight or nine different voices.

When he played at the Hollywood Commun
Theater, prior to entering pictures, Mari
Morgan, who directed the plays, used to hav
him rehearse all the parts for the benefit of
the other players. She said of him, "Ramon
is like a slot machine — put a nickel in and
any character will come out."

In the same belief Ingram has tested him
with a protean range of parts : as the im-
pertinent Rupert of "Zenda," the romantic
young French officer of "Trifling Wom-
en," the lyric and pagan Moutauri of
"Where the Pavement Ends," and as the
debonair and dashing Scaramouch'e.

No player ever sprang so rapidly into
close-ups. Others have seemed to arrive
overnight, but behind them lay months or
years of playing parts ; Novarro passed in-
stantly from extra to leading roles. Now
with only five pictures on his list he com-
mands serious consideration, not merely as
a personality, but as an artist of real gift.

When I met him two years ago, my chief
impression was that of youth, a debonair,
Bacchic youth, sensitive, high-mettled, in-
tuitive, of unmistakable breeding and a
satiric wit, yet strangely artless and ideal-
istic fpr this sophisticated age. Since then
I have come to know him well and have
seen him develop amazingly from the im-
maturity of those two years ago.
(Continued on page 83)

plays

«BfTO3 u "R

In the nature of Novarro
you find a combination of
shrewdness and idealism.
Not a business man, but
wise* enough to realize the
force of commercialism. He
is also judicious enough to
learn practically by' advice
and observation. These are
three additional glimpses of
him in "The Arab," on the
right, again with Alice Terry

25
PAS

Photograph by Donald Biddle Keyes

When I left the convent, a shadow fell across my life. My father became ill with consnmp

tion and had to go away. Then my grandfather wanted my mother and me to live with him

at "La Visa," the plantation. But I revolted. I had a horror of being a poor relation

My Stor;9

From the Time I Left J\.ew Orleans to Seek J^/Ly Fortune
Heather Than Remain a Poor Relation

OMETIMES I wonder if I would have the courage
to go thru it all again — the struggles, the harsh-
ness, the disappointments a girl, absolutely alone,
must experience if she would have a career on
the stage or the screen.

When I say that I was alone, I mean that I had neither
friends nor financial backing to make the pathway
easier for me. I did have my mother, tho, and her bravery
and unfailing cheerfulness buoyed me lip at times when,
I admit, I might otherwise have become completely
disheartened.

We stood together, late one afternoon in the winter of
1918, on the deck of the ship that had brought us up from
New Orleans. Before us stretched the sky-line of New
York City, looming massively against leaden clouds.
It was snowing, and I was very thrilled, for,
having lived in the South all my life, 1
had never seen snow before. I do not
know now whether it was the snow
or the city that thrilled me most
in that hour.

My mother, no doubt, was
thinking of me, and wondering
if she had been wise in per-
mitting me to persuade her
to bring me North. 1
knew so little about life.
My childhood and girl- t

hood had been a happy
and sheltered one. For
more generations than
I know, our family
has lived in the South, •
in and around New
Orleans. I had at-
tended the convent of
the Sacred Heart in
New Orleans, and my
summers had been
spent at our plantation
La Visa, which is near
the little town of Shutes-
ton, Louisiana.

I remember how keenly,
as a youngster, I always
welcomed the summer vaca-
tion period. Once out on the
plantation I would give my time
over to play-acting. I was not
a schoolgirl there, but an actress,
and I would bring the chil-
dren from the neighboring plan-
tations over to assist me in
putting on amateur theatricals.
I did not spend my time dream-
ing about the clay when I

I never dreamed about the day I would become

an actress, when I was a child. I always felt

I was one. (Above) Leatrice Joy when nine

years old

would become an actress. I always felt that I was one.
No doubt there were times when my playmates became
rather bored with me, for while I insisted upon their
sharing my enthusiasm for the stage, I was not particu-
larly interested in their games and pastimes. When they
would not assist me, I would enact my "plays" all alone,
indifferent to the fact that I had no audience. Com-
panionship was not indispensable to me then, nor is it now.
The year that I left the convent, a shadow fell across
my life. My father, who was a dentist in New Orleans,
became ill with consumption and was forced to give up
his practice. His income, of course, stopped. I have
just one brother, and he had gone to war. For the first
time in my life, I realized what it was to have my family
in somewhat straitened circumstances. Father
was placed in a sanitarium, and grandfather
advised mother and me to go to La Visa,
the plantation, to live with him.

Mother probably would have done
so, for she had led the sheltered
ife of a Southern woman and
did not know much about
battling the world, but I re-
volted. It is odd what seem-
ingly trifling occurrences
sometimes change the en-
tire course of one's life.
• I had seen a play in which
a girl, a "poor relation,"
was forced to be sub-
servient to the wishes
of wealthy relatives
who had taken her to
live with them, and
tho grandfather was
the kindliest man in the
world, I could not re-
sign myself to being de-
pendent upon him. I
had a perfect horror of
being a poor relation,
myself.

At' that time a little film

company, the Nola it was

called, was working in New

Orleans, under the direction

of a Mr. Martin, and one day,

without the knowledge of my

family, I went down to interview

him. Our family is rather well

known in New Orleans, and this

may have had something to do

with the fact that Mr. Martin

made me leading woman in his

company. I remember that the

matinee idol of a local stock com

:om- rv

PA fill

AMOTION PICTURF
TOl | MAGAZINE L,

all dreadful, I am sure, tho at the time they seemed
extremely important to me, at least. While I was working
in them, tho, I kept thinking how few the opportunities
were for me to pursue a theatrical career in New Orleans,
and what a broad field New York offered. Finally I
broached the subject of going to New York to mother,
and she consented to accompany me North. There is
something of the spirit of the adventurer in her, too, I'm
sure, and when our ship docked at the pier, that snowy
winter afternoon of which I have already spoken, she, no
doubt, thrilled at the thought of invading the metropolis,
tho she may have had some misgivings. I had none.

We soon established ourselves in a boarding-house in
Ninety-third Street, between Broadway and Columbus

Avenue. It was rather hard
for mother and me to become
accustomed to the ways of the
boarding-house, to have
strange people sitting down
with one at every meal, and to
have large bowls of food
passed from hand t o hand.
However, it was an entertain-
ing experience until the nov-
elty wore off, at least, and

Mother was sympathetic
when she found I had
determined upon a career,
and for this I never can
be grateful enough.
(Left) A young Leatrice
with her mother . . .
(Below), in "Bunty
Pulls the Strings." (Bot-
tom), with Robert War-
wick in "Her Man"

pany was leading man, and at first I was quite entranced at the
thought of working opposite him. This feeling soon wore off,
however. As is frequently the case, he proved nowhere near so
fascinating a figure in real life, as he was behind the footlights.

Mother was quite sympathetic when she found that I had
determined upon a career, and for this I never can be grateful
enough. Had she insisted upon my going to La Visa to live, my
life could not have been so full and happy as it now is.

I made three pictures with the Nola company. They were

gradually we got used to it. There were some
kind, lovely people in that boarding-house. I
often wonder what has become of the different
ones.

I soon learned the locations of the various
studios, and applied for extra work. Before
long I received a call from Fort Lee, and so my
screen career began in earnest — as an extra girl
in a Roscoe Arbuckle comedy, "The Other Man."

I then worked as an extra with Alice Brady,

who was also at Fort Lee, and when I was not

working at one of the motion picture studios, I

posed for artists and commercial photographers.

(Continued on page 85)

Verses Written to a Batry

Posed

Baby

Ellen

Joan,

of the

Emory

Johnson

Family

FAITH
BALDWIN

i'iiotograpb. Oy W. £. beeiy, L,. A.'

OK, there is more of wisdom in her eyes
And more of knowledge, secret and profound,
Than bound in musty cloth and printed, lies
In ancient books. And in the magic sound
Of that small voice she recently has found
Celestial music lingers. She is wise
With elfin learning from enchantment's heart
And harbors secrets she may not impart.

The Royal Heir to Happiness, she knows
Her power well, small despot, and demands
Our breathless worship . . . stumbles, weeps

and crows
And holds our heartstrings in her rosy hands
And binds our feet to service with the bands
Of silken hair . . . And with the budded rose
Of little, eager mouth, with wayward feet
She rules her own ... a tyrant, honey-sweet.

29
PAG

This walking costume
which Rodolph Valentino
wears in the title-role of
"Monsieur Beaucaire"
is pale grey velvet with
chenille braid. It is bril-
liantly lined with purple
and red shot taffeta. The
waistcoat is pink velvet,
embroidered with silver.
And the breeches and
boots are grey suede

The Designer's

Dreams

Come True

Bebe Daniels as
the lovely Princess
de Bourbon -Conti
wears one gown in
which she is
shown on the right
with Mr. Valen-
tino; it is fash-
ioned from pink
moire antique with
rosette flowers of
silver chiffon, cen-
tered with rose
velvet and dia-
monds. Her sleeves
are real lace, and
the panel of the
gown is silver cloth

Barbier, a Pari-
sian designer,
conceived these
costumes for the
cast of "Monsieur
Beaucaire." They
were then executed
in the beautiful
materials described.
The sketches of
Barbier here re-
produced with the
player wearing the
same costume
make interesting
comparisons pos-
sible. The two
little pages are the
slave boys of
Pompadour

Some of the best actors in
the world were trained on
Sennett s old roughneck com-
edy lot, it might well he called

By
HARRY CARR

The Incubator of Genius

HE young lady's disturbing blue eyes were swim-
ming and two big tears were having a race down
the sides of her little snub nose.

As she wept in silence, one tiny hand went rue-
fully to feel of the hurt place under the seat of her little
sailor trousers.

A comrade stood by her side, cheering her with friendly
words. His voice came soothingly to her from a face
dripping with the wreck of a raspberry pie.

And, looking, I knew that Mack Sennett had started on
the education of some more actors ; and that in all proba-
bility they will take their places eventually among the
illustrious of the world — not as pie heavers, but as emo-
tional actors, as finished comedians — some of the satirists.

Some of the best actors in the world were trained on
Sennett's old rough-neck comedy lot.

Among the crop of immortals
were :

Charlie Chaplin, Mabel Nor-
mand, Ray Griffith, Gloria Swan-
son, Marie Prevost, Louise
Fazenda, Maude Wayne, Ben
Turpin, Chester Conklin, Wallace

For several years the old pool on the Sennett lot
was given over to pollywogs and wigglers instead
of bathing girls. But now Sennett is making
comedies again with Harry Langdon and the
bathing girls seen with him above in a scene from
"Picking Peaches." A new portrait of Mack
Sennett is seen in the circle

Beery, Phyllis Haver, Mary Thurman, and many others.
For several years the old bathing pool has been given
over to pollywogs and wigglers instead of bathing girls.
Grown rich from his investments, Sennett took a long
vacation and retired to leisurely contemplation and
reflection.

But lately he happened to come across a young comedian
who interested him very greatly. So very much was he
interested that he opened up the old studio again and sent
out another S.O.S. call for youth and beauty and legs.

The old laugh-and-girl factory is running full blast again

and I am writing this to wonder whether it means that a

new crop of histrionic genius will be given to the screen.

In the old days they went into the hopper as little girls

with lovely legs and they came out finished actresses.

Gloria Swanson told me the other day that of all the

big directors she has worked with

since her days of stardom, she

has never found one who could

improve upon the lessons she

learned being hit with pies and

being chased by "prop" lions in

the old days on the Sennett lot.

37
PAfi

[GM°TION PICTURE

\"Vl I MAGAZINE L

Photograph (above) by Witzel and
(below) © Mack Sennett

And so Louise Fazenda above and Marie
Prevost at the bottom of the page came
onto the lot; fell into the water; were
butted by goats and chased by bears
and became finished artists

"All I have ever learned since," she
told me, "was to tone it down. But I
never have had to learn how to register
the emotions I was trying to get into my
acting."

But of course, as Sennett himself
reminded me, they are not all Gloria Swansons.

This big shaggy Irishman has an almost un-
canny eye for screen genius.

He told me how he happened to find Gloria.

Someone had given her a letter, by virtue
of which she was admitted to the lot.

Sennett has a very fine little office building in the
studio ; but he always transacts all his business in
the rubbing-room attached to his Turkish bath.

When you visit him, you have the choice
between sitting on a three-legged stool
leather rubbing table.

On this particular day, he had forgotten
all about the fact that a girl named Gloria

was waiting to meet him.

"I happened to look out of the win-
dow," said Sennett, "and I saw this girl
coming up the walk. Just the minute I
saw her, I knew she was going to be
somebody big in the screen world.

"I forgot the people I was talking to
and hurried out to eet a eood look at her.

"She is going to be a big
star," said Sennett of Alice
Day (above). He also thinks
Ray Griffith has the best
idea of dramatic values of
anyone he ever knew.
Gloria Swanson, Sennett
says, he knew would be
somebody big in the film
world when he saw her com-
ing up the path in search
of a job

When Charlie Chaplin came to the lot
everyone said Sennett had picked a
Jemon. . . . And Mabel Normand, with her
gorgeous sense of humor, had a hard time
learning the technique of screen acting

"I remember that, without even intro-
ducing myself, I went up and shook hands
with her and said, T am glad to meet
you, I dont know what your name is but
you are going to be a big screen star.'
"Gloria was so astonished that she
backed off and demanded 'How do you know
I am ?'

"And that is just what I couldn't tell her.
I just knew she had it."

It cannot honestly be said that Sennett was
equally perspicuous in regard to Charlie Chap-
in.. According to his own story, the great
Charlie had a pretty rough time when he first
went to the Sennett lot.

Sennett had seen him in a vaudeville sketch
in a second-rate theater in Los Angeles and
had offered him a job at the staggering salary
of $60.00 per week

When they got him out on the "lot,"
however, everybody decided that, for
once, Mack had picked a lemon.

At that time, the technique of comedies
demanded speed. Ford Sterling was the
leading funny man on the screen.

In that day, for instance, if a comedian
had a gag about a glass of water, he would
(Continued on page 90)

Photograph by Donald Biddle Keyes

The Movie Studio D

rama

Verse by

IDONT know what
We simple . . .
Kindly folk in Hollywood
Are going to do for
Entertainment any
More, I'm sure. . . .

There was a time

When we could

Hoof it happily down

To the Boulevard

And see a Per-

Fectly Thrilling Movie. . . .

We watched

The Proud Society Girls

Of New York and . . .

Brooklyn go the

Pace That Kills. . . .

We followed

Shahs and Sheiks and

Emirs as they

Did their Desert and

Other Hot Stuff . . .

And hung breathless while

High Salaried Canine

Stars chased

Non-Salaried Wolves . . .

Across the Bleak and

Barren Stretches of the

Frozen North. . . .

HELEN CARLISLE

and
Illustrations

ELDON KELLEY

In Hollywood

It's a Dull Day

That finds no movie camera

Behind the Hedge or

On the Roof or

Somewhere . . .

But those Good
Days are Past. . . .
Some Bright Lad in an
Inspired Moment Broad-
Casted the idea of
Turning the cameras on
Hollywood . . .
And now

Farewell . . . Actios
And Good Night. . . .
Our celebrities (each
Carrying a Pair of
Dumb-Bells) are
Supporting our Leading
Landmarks in Films
Of Hollywood . . .
And it's a Dull Day
That finds no movie camera
Behind the Hedge or
On the Roof or
Somewhere. . . .

I've done all I

Could to keep my . . .

House and Home out of

The Movies. ... I dont mind

Looking at it in its

Proper Place . . .

But when I Lock the

(Continued on page 93)

John Arnold might
be called Viola
Dana's partner.
He has photo-
graphed every Dana
picture except one.
And, on the ex-
treme right, is
Charles Rasher
with Mary Pick-
ford and Ernst
Lubitsch. He is
always behind
Mary's camera and
is, without a doubt,
one of the greatest
cameramen the
movies have ever
trained

The Men Who

Giving a Litt/e Credit
So Much

"Lights! Camera! ! Ac-
tion! ! !" calls the di-
rector — and any habitue
of the studios knows the
vital importance of the
cameraman in this mo-
ment. To the left is
Charles Van Enger with
Marie Prevost and Monte
Blue. And on the right
is Arthur Edeson, a wiz-
ard with a lens. He
filmed "The Thief of
Bagdad," and after
"Robin Hood," Douglas
Fairbanks introduced
him as the man respon-
sible for much of the
success of that production

Trick photography
is an art in itself.
And who is better
qualified in this
manipulation of the
camera than Walter
Lunden, who films
the Harold Lloyd
You
might say Frank B.
Good had a lazy
life. He always sits
down to photograph
Jackie Coogan. Mr.
Good has come up
from the ranks, but
he is recognized as
a master

>#*££§?- '*'

HEN

Photograph oy Kenneth Alexander

Seena Owen's Little Girl . . .

This picture was taken for Patricia Gloria's various aunts and uncles. But we persuaded the
photographer to persuade Miss Owen to permit us to publish it — and so here it is

bosc.

PAG

Vignettes of the Studios

X. Mack Sennett's Lot
SALLY STEELE

This is the tenth and last studio vignette
we shall publish. And if Miss Steele left
Mack Sennett's lot until the last, the follow-
ing description will tell you it wasn't because
it is the least in importance.

We are glad to have had the privilege of
publishing these colorful word pictures of
California's glass houses — reading of them is
the next best thing to visiting them. And we
are sure our readers will agree that no one
could have told of them with more color and
feeling than Sally Steele.

YOUTH and Age. Youth and Age on the Sennett lot.
Bathing beauties, slim, pert young creatures in
a slip of satin or velvet, opera-length silk hose
and high-heeled slippers, against a background of
sun and rain-stained stages.

Ugly, absurd, intriguing as a Matisse, Mack Sennett's.
A harsh pencil would sketch in the lines of its gaunt
stages. A brush would paint it grey. But that would not
be Mack Sennett's at all. Your true impressionist seeks
below the surface, for the feeling, the spirit of his subject.
One finds it in unexpected corners, here. Leave the
set where cameras grind on a fat butler, falling downstairs
with a marble statue in his arms.

Surprised, you come upon a winding pathway, a neat
grass-plot, a quaint cottage. You think of hollyhocks, and
sunshine warm on back-yard fences. Mabel Normand's
dressing-room.

Cross the stage and speak to that young ingenue lead,
who, they'll tell you, is bound to make her mark some day.
She's reading "The Little Shepherd of Kingdom Come."
She'll tell you that she thinks it's a lovely book.

A box-like dressing-room on one of the open stages.
Temporary? To be torn down tomorrow? Rather not.
It was built for Charlie Chaplin, when Mack Sennett
lured him from the three-a-day with the offer of
hundred-dollar-a-week salary. An earnest young
dian, almost unknown as yet, occupies it nowj
knows ?

In the tower, a square, many-windowed frame
ture near the center of the lot, Mack Sennett, himsc

His office has the hauteur imparted by expens ;
and massive, highly polished mahogany. Cl
costumes, painted noses, broken shoes and den'
{Continued on page 87)

YOUTH AND AGE
Youth and Age on the Sennett lot. Picturesque, shabby, delightful, historic Mack Sennett's!

May they never tear it down!

Photograph by G. F. Cannons

A Week of

Temptation Is the Second

Instalment of

The Girl

Who
Couldn't
Be Bad

HENRY ALBERT PHILLIPS

flAJrCORNtUA 0WRi'

The lights were lowered and

Orkney seized his opportunity in

the shape of Hope's trembling

hand

TTOPE BROWN, lovely and seventeen,
J^l lived in Pocustown, California, with her
brother Hank, her parents and her Aunt Charity.
Her parents practised the severities of the
prophets: long prayers, longer faces, drudgery,
constant punishment. Hope came to hate the
things that are called "good" ordinarily. She
determined to run away and be "bad." In this
mood and with her hawk-eyed parents in
'Frisco, she met Miles Orkney, a former resi-
dent returned to the little town besmeared with
the vices of a big city.

NOW, Mr. and Mrs. Ezekiel Brown were in no
sense hypocrites. Dont get that idea for a
moment. They were zealots, that's all. They
overemphasized one very essential part of our
human make-up and almost totally neglected several other
equally essential parts.

Furthermore. Mr. and Mrs. Brown — like an appalling
number of their fellow creatures — had no sense of humor.
Life has its little jokes as well as its funerals. They
could not see them. But the Browns enjoyed working in
their chosen field — even if they didn't laugh over it now
and then — just as we all enjoy doing the thing we want
to do, whether we rob banks or undertake at funerals.
That man is a failure who does not enjoy his work! The
Browns enjoyed their work immensely and could not, for
the life of them, see why all the rest of the world did not
go and do likewise. From which it may be seen that you
cant discuss such good people without immediately catch-
ing the preaching habit yourself.

Be it said also of the Browns, that they were consistent.
They did not confine their inhuman piety to hardening the
bosom of their family. To the contrary, they were inde-

fatigable outside workers to the end that none should wil-
fully escape the wrath to come. They pointed their
persuasion by giving the wayward a liberal foretaste of
what awaited them.

Xew laurels had fallen — tho not unexpectedly — upon
the frowning brow of Ezekiel Brown, when he had been
elected Moderator — for the whole state — of the newly
organized Liquor Extinction League. Sarah Brown —
thru the same coincidence of influence — was made the
state head, or overmother, of the Society for the Guidance
of Wayward Girls. Now, as leaders of good causes, they
had established a record that would probably stand for
years. Personal love, however, does not enter their
religion, so we find them quite devoid of sympathy for
those who transgress, which gives them something more
of the spirit of exterminators of the wrong side, rather
than one of propagating the right side. So when they are
not engaged in torturing the modern-minded Hope and her
brother at home, they are neglecting them — in the
voracious pursuit of their vocations as reformers.

With all these attributes and accomplishments in mind,
it was not in the least surprising when Mr. and Mrs.
Ezekiel Brown were appointed — unanimously ! — dele-
gates-at-large to the Federated Convention of Righteous
Causes !

The ultragood Ezekiel and Sarah left Pocustown after
invoking austerity on both Hope and Hank and then trust-
ing them both to the kindly care of Aunt Charity.

There

was one moment when Hope Brown was quite
overcome by her parents' parting from her — particularly
her mother. She would have given anything in the world
at that moment to have had her mother take her in her

arms and But she didn't and instead of all things in

her heart being changed for the better they became a trifle
worse. Mother and father bade their children a perfunc-

45
PAG

"MOTION PICTURr

CI I MAGAZINE "-

There was one moment when Hope was quite overcome by the parting with her parents. She would
have given anything in the world to have had her mother caress her

lory good-bye and then hurried into the train which
quickly pulled out. There was another 'moment of pain,
then with a toss of her head Hope turned away and men-
tally plunged headforemost into her design of becoming
forthwith as wicked as she could be.

While Hope and her Aunt Charity were the acknowl-
edged drudges — Charity gratefully so as long as she could
have her Parana the moment she felt overtired — inside
the house ; Hank was the man-of-all-work outside. In his
father's enforced absence he was kept pretty busy. But
during this same parental absence Hank had managed to
make several friends. Steve Brodie, for instance, had
taken the greatest and most incomprehensible interest in
him. For several months past now, Hank had been sneak-
ing away nights when they thought he was locked in his
room. Steve told him he liked him and promised him a
good job just as soon as his father would let him take it.
Hank knew that his father did not like Steve Brodie for
some reason or other. His father never bothered to tell
him anything. That's the reason he liked Brodie and his
friends, because they seemed to look on him as being some-
body. The fellows he met in the back of Brodie's insur-
ance office were older than he, but the kind of sporty
fellows that Hank would have picked out to go with.
They started out by playing dominoes. Then they got to
playing cards one night. Hank was afraid at first. But
they took great pains and patience with him. They always'
had something to drink, too — sarsaparilla or ginger ale. It
was the best of its kind Hank- had ever drunk. After

\ drinking a bottle, they could make Hank do anything and

>46

he seemed to feel happy for the first time in his life. One
morning after a clandestine visit to Brodie's, his father said
at breakfast, "You smell just like you've been adrinkin'
my Parana — no wonder it goes so fast !" Hank protested.
"Now, dont add lyin' to stealin' — you know you did ! Go
to your room !" Hank did, and he felt as tho he would
like to have had a whole bottle of that wonderful soft
drink of Brodie's and drink it right down. That night he
went again. He asked if he couldn't have a bottle to take
home — to keep it in the barn, of course. "Why. I guess
we can give him a bottle as often as he wants it, cant we,
boys? A nice feller like him!" And they did give him a
bottle. And whenever things would go askew. Hank
would sneak out to the barn and take a little and feel better
right away ! Nobody paid much attention to him anyhow,
so if he acted a little queer — which he felt somehow he
was doing — it was not noticed. It was so good that he felt
he couldn't do without it !

So that day he and Hope were coming up the street,
after having seen their parents off for San Francisco, he
saw Steve Brodie and another man standing in front of the
house, he was tickled to death. One reason was, his
bottle was empty. He liked Steve anyway, for that mat-
ter. "There's Steve Brodie !" he told Hope.

"But who is that nice looking man with Mr.
Brodie?" asked Hope, a thrill of feminine consciousness
running thru her. Hope liked men, but her admiration
had usually been limited by the apertures in the "front
room" blinds thru which she peered at them, thinking how
pleasant it would be to actually know one and "go

OTION PICTUR

MAGAZINE

all the rest of the

girls

in the village

you

with" him, as
seemed to do.

"Oh, they're probably looking for me — I never told you,
Hope, but Steve Brodie is my best friend in this rotten old
town. He's promised to do something handsome for me
some day. You know Pop'll never do anything for me."

"No, Pop's got those everlasting heathens on his mind.
So has Ma! There, Mr.
Brody wants you, Hank.
Tell me about that nice-
looking man when
come in the house."

"Aw, you're crazy,
Hope — they dont give a
darn about you!"

Hope went into the
house and hurried up to
her room and peeped out
of the window. Hank-
joined his friends.

"I've got this kid just
where I want him," Brody
had told Orkney. "I'm
goin' to get hold of his
old man's gizzard thru
him, or I dont know my
business. The kid's got
some taste for booze, be-
lieve me !"

"I want to meet the
girl !" insisted Orkney.

"You just hold your
horses ! You'll meet her
all right— the kid'll ar-
range that — or anything
else you ask — for a bottle
of 'charged' sarsaparilla."

Ill

''Come on down,
Hope !" called Hank up
the back stairs. "Aunt
Charity is asleep in the
milk-room. That feller
wants to meet you !"

Hope was unwomaned
by a series of cold chills.
"Tell him, I cant ! Why,
Hank, what'll Ma say!"

"Why, Pop and Ma
cant say much more when
we do things than they do
when we dont ! You're a
'fraid cat, that's what you
are. You want to come,
but you daresent !"

Hope bridled at this.
She could stand baiting
from her father, because
she had to — but not from
Hank. "I'm not afraid
of anybody and you know it !"

" 'Cept Pop," taunted Hank. "Now's that chanst to be
bad, that you've been talkin' so much about."

"I'll be bad when I get good and ready !" she answered,
and then, fixing her hair instinctively, she stepped down
the stairs ahead of him, slightly trembling all over in the
knowledge that she was heading straight for the bad
place. Hank led her down behind the barn.

"This is my sister, Hope," said Hank to Orkney.

Instead of stepping forward, Orkney receded a step.
She was beautiful but so accusingly innocent. "How do

Meet Helen Carlisle

'"TWELVE years ago the Detroit Free Press

offered a first prize of five dollars for an essay

"How I Spent My Vacation." Helen Car-

lisle's learned discourse won it . . . and once
again a contest gave a writer her first encourage-
ment.

However, when her sister, Lucille, now lead-
ing lady in the Larry Semon Comedies, who is
sitting on the arm of Helen's rocker in the
photograph above, proceeded to win the next
prize for which Helen contested, she decided to
forego the writing profession. She planned to
become a school-teacher, which was what her
mother had been before her.

The readers of the Motion Picture Magazine
who have followed Miss Carlisle's interesting
articles know that she never kept to this resolve.
Editorially, we are glad she reconsidered her
hasty decision, for we consider her one of the
finest writers of things cinematic.

The Editor.

you do !" he said, politely, shaking her by the hand
"Hank and 1 have got a little business to 'tend to," said
Brodie, clearing his throat. Then the two of them dis-
appeared into the barn.

"Well !" began Orkney awkwardly. He was usually
loquacious and bright in the presence of a pretty face,
but he could not help thinking that this simple little coun-
try girl made him feel like
a fool. "I'm sure I'm
pleased to meet you, Miss
Brown. What do you do
to keep busy in this little
town day and night ?"

"Work," replied Hope
honestly.

"And when the work is
over — what then ?" Ork-
ney was expanding.

"Pray," added Hope
laconically.

"Pray — or play, did you
say?"

"We work and pray —
Pop makes us." Hope
pouted a little and looked
prettier than ever.

"All work and no play
make Hope a dull girl, eh ?
Well, maybe I can be of
some service to you. eh?"
Hope knew that she had
found a sympathetic con-
fidant and she poured out
her besetting sorrow of an
overdose of goodness and
declared she was seeking
a cure.

"What's your idea of a
cure for goodness ?" asked
Orkney smiling.

"Being bad!" said
Hope, simply, yet with
unmistakable emphasis.

. Again was Orkney not
quite sure of hearing
aright. "There's nothing
like being accommodat-
ing!" he ventured at
length. His restraint had
vanished. Hope had her-
self acquiesced to the
game of which he was a
past master that sel-
dom lost a stake. "I have
a leaning to badness my-
self at times. I have one
terrible fault!"

"You have?" asked
Hope. "What is it?"

"Woman," sighed

Orkney.

"That's nice," acquiesced Hope innocently. Vaguely

she saw in this fault of Orkney's a possible way in which

to consummate her own devilish plans. "I'm awfully glad

you like women !"

Orkney then proceeded to honey the morsel he dangled
before her eyes by telling her of not a few escapades he
had had in the city, always leaving the story unfinished for
her to guess the inevitable truth— which she never did.
She merely asked him excitedly, "Oh, please tell me
another one !" Just as tho they had been fairy tales.
Really to her they were nothing more. Orkney thought,

47
PAG

^MOTION PICTURf
01 I MAGAZINE L

excitement obvious as the
on her lips. "I know I
—but I'm going to do it !"
came out with it. "Well,
think of is for us to go —
- — " she gulped over this unthinkable action —
movies and see 'The — The Dark Woman's

of course, that he had made himself doubly clear. What
she was really drinking in was the magic of city life. She
had yearned for it a great deal lately.

"By the way, Miss Hope, after what you've heard about
me, perhaps you're going to let me show you a few
things ?"

"I was hoping you'd ask me," she said, half-shyly.

"And now that you know what a naughty, naughty boy
I am, what's your idea of the first and most devilish thing
we can do together?"

Hope looked at him, her
dreadful disclosure hovered
oughtn't even to think of it-
She sighed guiltily and then
about the worst thing: I can
together
"to the

Secret !' " Awful perspiration stood out in beads on her
forehead as she felt for the side of the barn and leaned
gratefully against it in the agony of her wickedness. It
is doubtful if she even heard Orkney mutter something
like, "Well, I'll be damned !"

Brodie and Hank returned, the latter with a strange
light in his eyes and a marked unsteadiness in his legs.
Brodie gave him a questionable look.

"It's all right," said Orkney. "We're going out
together tonight ! Aren't we, Hope ?"

Hope nodded solemnly.

"Meet me — here — at eight then, Hope !" The two men
hurried away.

"Oh," said Hope half-disgustedly to Hank. "You smell
just like that Parana that Pop and Aunt Charity take
after meals — Pop always said you were drinking his."

"Shay !" began Hank, half-angrily lunging for his sister.

"I haven't time for anything else here — I'm going in to
curl my hair for the first time in my life ! I'll show these
people what real wickedness is !"

And strangely, Miles Orkney was thinking along the
same line himself.

Steve Brodie had come into Hank Brown's arid life
like a rippling river, for thru him he had come in contact
with the first real pleasure he had known. He had always
hungered for any experience outside his own narrow
pathway. The boy was not normal because of the crush-
ing and cowering discipline and undiluted righteousness
that had been meted out to him ever since he could
remember. He had been told so repeatedly that he was
bad that he was convinced of it and longed to exercise
his talent in this direction.

Thus Steve Brodie thought that he had launched an
invincible counter-attack on the chief sword-wielder
against the liquor interests. With his smooth tongue,
natty appearance and genial manner, Brodie knew that
Orkney couldn't fail to attain his object.

And the young people seemed certainly on the down-
ward path that night when they both practically defied
Aunt Charity. Hope took the lead as usual and Hank,
the weakling, followed suit in his sullen way. Instead
of climbing over the roof and down the grape arbor, he
walked straight out the door and down-town to meet
Brodie and "the boys." Hope waited until the town clock
struck eight and then she, too, put on her ridiculously
plain bonnet and walked out the side door and slammed
it behind her !

Aunt Charity, unequal to such onslaughts of Satan as
this, tasted to the very bottom of her Parana bottle.

Just before reaching the barn, Hope felt as tho some
unseen hand halted her. She paused only a second and
then jerked herself away from it. "No, I'm going to do
it!" she muttered.

Mr. Orkney was there whistling a plaintive air and
when Hope came up he greeted her as tho he had been a

The fellows he met

in the back of

Bro

fice

he.

sporty,
to be

were older than
But they were
Hank liked
with them

48
ae.

«t <H\

OTION PIC1UR'

MAGAZINE

cavalier. The girl thrilled. She, Hope
Brown — this handsome man
for her — together in the night — the
movies — romance - — adventure !
For a moment she was nearly
overwhelmed by it all. She
took the proffered arm
and they walked to-
gether straight down
to Main Street, when
Hope took her first
deep draught of in-
iquity with ludicrous
solemnity.

Ten minutes later
they hovered together
on the threshold of
"The Dark Lady's
Secret !" The lights
were lowered and
Orkney seized the op-
portunity in the shape
of Hope's trembling
hand, which because
of the awe inspired by
the movie, she quite
forgot was hers at all.

Now the dark
secret of the lady in
the picture was noth-
ing more nor less
than that she had at
one time been a circus
rider ! Now that she
was seeking the heart
and hand of the millionaire's only son, the secret must

not be disclosed or ■ However there was the very

point on which the rascally villain sought to hang his dirty
work. He proceeds to blab on the Dark Lady and — the
motion picture company obviously having a whole circus
somewhere on the lot eating its head off — an entire circus
is unreeled on the screen. And after the clowns and fierce
animals and daring performers had done their bit — a frail
bit of acrobatic humanity came hurtling down from the
very peak of the big top ! And who do you think it was
— but the Dark Lady ! But wait ! A man with wits as
sharp as a razor and quick as lightning has rushed from
one of the boxes occupied by the audience. He has seized
the canvas flap of the door of the tent — which Providence
and the director has placed in the needed spot, stretched
it out and then held it — for her to fall into !

There was every reason to believe that the Dark Lady
would have been killed by a fall of half the thrills. But
she was only unconscious. She never knew who her pre-
server was, altho she had searched half the world for
a clew — giving up her circus life for no other reason.
Now, who do you think it was that saved the Dark Lady ?
You would never guess but it was the millionaire's only
son ! He had become wan and frail from attending all the
circuses in the world looking for his Dark Lady — and had
found her at Newport — or some place like that — after he
had given up all hope. And he was saving the dear secret
to tell her on their wedding-day when the villain "spilled
the beans" — his own words
in sublime happiness.

The manager of the movie theater was a clever chap.
While the circus was in swing, he had the ushers sell pea-
nuts and lemonade. It made a regular circus out of it !

A circus ! Hope had heard of such things — and here
she was at one — eating peanuts and drinking pink lemon-
ade and all the rest of it — and enjoying it all like a regular
heathen! Orkney blew to everything.

"By the way, Miss Hope," he said,

"after what you've heard about me,

perhaps you'll let me show you a

few things?"

and brought them together

But there were moments when Hope Brown disclosed
her intrinsic innocence and revulsion against any approach
to real evil. That was on seeing the circus performing
ladies in tights and very low-necked bodices. She told
Orkney frankly that she had never before seen anything
quite so shocking. Orkney was about to make a facetious
remark on the subject, when something in the girl's eye
told him that he would probably spoil it all if he tried too
early to consummate his ulterior purpose.

Hope retired that night with a guilty sense of having
been viciously bad. Furthermore, she was very much
infatuated with Orkney, who promised to come again
sometime on the morrow.

But Aunt Charity woke next morning with a brutal
headache and a vivid knowledge and growing horror of
Hope's enormities. First thing, she wrote to Ezekiel and
told him all, adding that she thought she could cope with
the situation and not to let the news in any way interfere
with his fine work for the benighted heathen.

The morning and half of the afternoon wore on with-
out the impending clash between Aunt Charity and her
niece. There was something in Hope's manner that for-
bade an attack. Then none other than Mr. Miles Orkney
appeared at the Brown front door ! Hope opened the
door for him.

Strangely, Aunt Charity had disappeared. It seems
that Steve Brodie had indirectly attended to that. Steve
knew that Orkney was coming to call and he also knew
Aunt Charity and Hank had told him about the Parana
bottle. So he gave Hank a bottle of new apple whiskey
and told him to empty part of it into his aunt's Parana
bottle.

Aunt Charity thought the taste of her Parana strange.
But she liked it. And she didn't remember the rest.

So the coast was clear for Miles Orkney and whatever
he had in mind. The only guardian that seemed left for
(Continued on page 88)

49
PAG

Photograph by Hoover, L. A.

Most of us would count
ourselves fortunate to
possess any one of the
four talents enjoyed by
the brilliant Rex Ingram.
"La Guerre" was sculp-
tured after he had
studied under Lee Laurie
at Yale. And the sketch
on the right was an
Ingrain conception of a
minor character of a
slave boy in his new
picture, "The Arab"

Director

Actor

Sculptor

Artist—

Here We
Have

REX INGRAM

That's Out

Frank Comment by TAMAR Lane

More Hymns of Hate

As Sung by the Amateur Scenario Writer

I HATE the movies ! I hate the scenario editor who
returns my brain-child with the curt reply, "unsuited
to our present needs." when I have copied it from
one of the most famous foreign masterpieces. In a
few months he will probably be filming this very novel.
Every day I see worse stories on the screen than the ones
I write ; yet I cant even give mine away.

As Sung by the Young Extra

I hate the movies ! I hate the casting director who takes
my name and address, asks for several photographs, my
experience, my wardrobe, and then never sends for me.
Everyone says that I look just like Valentino when I
have my hair plastered down. Why dont casting directors
ever notice these resemblances ?

As Sung by the Ambitious Fan

I hate the movies ! I hate the stars that I write to, tell-
ing them of my troubles and asking for a job in their com-
pany. They send back stereotyped replies advising me to
give up the idea because it is such a hard life. If it is such
a hard life, then why dont they give it up? Then they
send me a photograph of themselves autographed by the
office-boy.

Is it any wonder that I hate the movies ?

But so far as actual or potential ability is concerned,
Griffith is still the peer of them all. He has greater versa-
tility and knows more about the silent drama and the
possibilities of the motion picture camera than any two of
our other "great" directors put together. Griffith could
make better pictures but he doesn't want to. The fires of
his artistic ambitions have been smothered. It is because
of this — and only this — that the screen must look for a
new leader.

Why Is a Stove ?

It begins to look now as tho stoves were not made for
cooking and heating purposes, but for comedians to
sit upon.

Movie Efficiency

Things got so bad in the film industry recently that the
producers decided to economize and cut down on expenses.
So they started off by cutting the wages of the poor extra
from $7 a day to $5. I wonder how many of the New
York executives who receive $100,000 yearly for warm-
ing mahogany chairs four or five hours a day, received
cuts in their wages ?

The Screen's Greatest Director

In discussing the question of who
are the silent drama's greatest direc-
tors, it has recently become the cus-
tom of many scribes to cast slurring
remarks upon the abilities of the
"once great Griffith," and to hand the
title of "greatest director" to such
other supervisors as Chaplin, Sea-
strom or Cruze.

While the writer has himself found
fault with D. W. Griffith at various
times, he has never, for a moment,
questioned the wizard's abilities or
greatness. The criticism
to be made of Griffith is
not that he cannot make
films of a finer quality,
but that he docs not
make them. Because sev-
eral of his worth-while
celluloid efforts failed to
score big financial suc-
cess, Griffith has become
discouraged and has sold
himself out to the idea
that in future he will
make nothing but sure-
fire box-office produc-
tions. He, therefore, se-
lects inferior stories and
hokum situations in or-
der to play down to the
public.

„.-/

Stars That Will Shine

Alice Day. Here is one of the most
promising young comediennes seen on
the screen for some time. In "Shang-
haied Lovers," opposite Harry Lang-
don, she did some very clever work for
a beginner and if she can keep it up
Alice should soon be quite a favorite.

Judging America by its movies: —

to a road-house where they drink

they are saved from the clutches

arrives on the scene and

All innocent damsels are lured
what they think is tea. Then
of the villain when the hero

breaks down the door

Judging America by Its Movies

All young authors eventually sell
their novels just in the nick of time to
save the family, and are alway r s given
a $5,000 check for advance royalties
by the publisher.

All innocent young country damsels
immediately get jobs in the Follies
and become the rage
of New York after
playing before the foot-
lights for a few per-
formances.

All innocent country
damsels are lured to a
road-house where they
drink what they think is
tea and are only saved
from the clutches of the
villain when the hero
arrives on the scene and
breaks down the door.

TR5KEV

PAGll

amotion PicnjRr

m I MAGAZINE <-

shoe in his boxing-glove and with a mighty wallop knocks
his giant opponent ont of the ring.

How to Suc-
ceed in the
Films — Lesson
No. 3. For vil-
lains: In love
scenes never be
gentle or you
will be mis-
taken for the
hero — grab the
damsel roughly
and struggle all
around the
room with her

They Do It in the Movies !

The beautiful and much-sought-after young
debutante gives up all her social life and spurns her
many wealthy suitors so that she can live in a little
country cottage with the poor boy that she loves.

Famous Days in Film History

August 4th, 1912. On this eventful date 'the first
news weekly was presented showing the parade of
floats at Kalamazoo, Michigan.

"mSKEY

Right Again, Watson

Recently, in these columns, I commented upon the
intelligence of producer Harry Rapf in taking a young
director by the name of Monta Bell and entrusting him
with the direction of the production, "Broadway After
Dark." I ventured to predict that the young fellow —
even tho he had never previously directed a picture —
would probably turn out a fairly good photoplay, and that
anyway it couldn't be any worse than many of the films
made by some of the screen's oldest and most experienced
directors. Well, "Broadway After Dark" is completed and
instead of being only a fair picture it is a good picture. And
Monta Bell appears to be rather a capable young director.

So I'll take the $50,000 and make myself five super-
specials.

How to Succeed in the Films

In Five Complete Lessons

Lesson No. 3. For Villains

The first requirement is a mustache. Raise one immedi-
ately and learn to twist it meaningly. Practise having a
cunning sneer on your face so that the hero may be
properly taunted. If you have fair hair, dye it black at
once, as there is no such thing as a blond villain on the
screen. A cigaret must be smoked at all times, and be sure
to have a bottle handy so that it can be broken over the
hero's head at the proper moment in the story. Take a
course in acrobatics so that you will be able to fall grace-
fully off cliffs and over balustrades. In love scenes never
be gentle or you will be mistaken for the
hero — grab the damsel roughly and struggle
all around the room with her. Also, above
all things, remember that you must never
kiss the heroine on the lips — this territory
is reserved for the hero. Villains kiss
heroines in only two places — on the ears
and on the back of the neck.

Sure-Fire Comedy
Gags No. 43

The one where the diminu-
tive comedian puts a horse-
52
ae.

"Hold Your Breath"

That's the title of a five-reel comedy recently completed
by Christie and it sure lives up to its appendage. In this
celluloid scream Dorothy Devore out-harolds Harold
Lloyd so far as thrills are concerned. It's a pippin of a
comic. Dont Miss It.

The Poor Movies!

The people of the motion picture profession have been
known to transgress. Their number is legion and as in
any other large profession or group of people there are
some who seem quite unable to stand either the wealth or
the fame which their popularity brings them. It is not
strange that these few should be harshly criticized.
Frequently they are deserving of greater censure than
ever comes to them. But it is horribly unfair to brand
an entire profession because of a few notorious flam-
boyant members. Yet this is what is done to the movies
time and time again. Generally we let such injustices pass
unnoticed. However, a recent newspaper clipping so
infuriates us that we must publicly quarrel with it.

A man suspected of the murder of a woman was dis-
covered to be employed as the operator of a motion picture
machine in the little theater in his town. Immediately a
newspaper blared such a headline across its front page:
Movie Man Suspected in Such and Such a Murder.
Technically, this headline was truthful. But immediately
the casual reader decided there had been another Holly-
wood scandal. Actually, this man is a mechanic. His
association with motion pictures is entirely vicarious and
only the most far-fetched reasoning could possibly connect
a man who" projected a machine in a little Staten Island
(Continued on page 87)

In the movies —
The beautiful and
much-sought- after
young debutante
gives up all her
social life and
spurns many
wealthy suitors so
she can live in a
little country cot-
tage with the poor
boy that she loves

TRSKty

The Editor Gossips

rODAY has been good to us.

It has given us back

Tsome of our former belief in the human race
. . . eradicated some of the dark doubt which
our adult years have brought with them . . .
renewed our shaky faith in the fellowship of man.

A month or two ago we published in another column
of this magazine a notice telling of Florence Turner, ill
and destitute in London. Florence Turner everyone re-
members as the veteran motion picture actress. She was
known as a screen personality before she was known by
her name. Before the casts were shown upon the screen
the public wrote letters to Florence Turner addressed to
''The Girl With the Big Eyes, Yitagraph Company,
Brooklyn, New York."

Marion Davies read our note or another like it and
straightforth had her representative in England investi-
gate Miss Turner's
circumstances. She
had never known
Florence Turner per-
sonally. It was suffi-
cient to her that a fel-
low actress was in
distress. Theatrical
people have belied all
the things we heard
about them before we
knew them personally
except that they are
unfailingly quick to
help a comrade. Their
purses are always be-
ing emptied in gen-
erous and impulsive
gestures. Their latch-
strings are always
raised in an offer of
hospitality to any
friend in distress.

So Marion Davies
had Florence Turner
and her mother
brought to America
as her guests. Today
they are her guests in
a New York hotel
and Miss Turner is to
have a role in the
next Davies picture.
Perhaps Miss Davies
lias come to a prema-
ture acceptance of
that simple and wise
philosophy: "There,
but for the grace of
God, go I." Life does
queer things to
people. It turns their
lives topsyturvy. It
doesn't always whis-
per a warning. To-
day — ah, yes! Of
today we are com-
paratively certain.
But tomorrow is al-
ways ahead of us — an
eternal question.

Talking to Florence
Turner, who is the

Marion Davies never knew Florence Turner personally It was
sufficient to her that a fellow actress was in distress. So she had
Florence Turner and her mother come to America as her guests.
Today they are her guests in a New York hotel. And Miss
Turner is to have a role in the next Marion Davies production.
Surely when Youth stops in its parade of glamorous days to hold
forth a helping hand to a comrade in difficulties, it is an unusual
youth: rich in promise. Below, Miss Turner and her mother
photographed on their return to America

Photograph by
rnational
Newsreel

same Florence Turner we remember in the old flickering
films, we gathered that the happy transition which she has
known in the last few weeks has left her little time to
realize the reality of what might well seem a dream. Just
a month before the day we saw her she was counting over
the remains of her last bank-note ; hoping wearily that
the few shillings and fewer crowns would last until an-
other engagement brought new bank-notes.

Pride invariably intensifies the difficulties of trying
positions. The Turners were striving desperately to
'"keep up appearances." Clothes from the old affluent
days helped their pretenses. They managed so that no
one was ever admitted to the bare and shabby interior
of the flat where they lived. The furniture had gone the
way of the jewels and the furs and any other things
which fickle prosperity had given them and on which

slight sums might be
realized.

Just so long as the
world could be kept
in ignorance of such
a state of affairs, it
didn't matter so much
that there was often
a lack of food . . .
and frequently no
tram fare to take Miss
Turner to the studios
where her hopeful in-
quiries about engage-
ments so often met
with disappointments.
This was the dis-
couraging state of
affairs which con-
fronted Florence
Turner and her
mother for years, ever
since the war wiped
out her studios, her
company and her
savings.

Their health gave
way under the strain
of anxiety and worry
on two or three occa-
sions, and life loomed
before them in a vista
of grim, stark years.
Who would dare con-
demn them if they
had refused to face
such a future . . . ?
But then another en-
gagement would come
along. And then the
same deadly struggle
would begin all over
again when that en-
gagement's money
dwindled away.

However, we re-
member our grand-
mother's telling us that
the longest lane must
have a turning. . . .
One day a message
came to the Turner
{Cont'd on page 110)
53
PA/3

On the Camera Lines

Sketches b$ J. W. Golinkin

Once more Wash-
ington crosses
the Delaware.
And this time a
battery of cam-
eras click as the
small craft peril-
ously nose their
way among the
ice floes. For a
scene of "Janice
Meredith" deal-
ing with this epi-
sode in American
history was
photographed on
the Delaware
River last winter
before the spring
sunshine melted
the very impor-
tant ice proper-
ties

Harrison Ford is
the hero, with
rebel tendencies
and a love of
Janice Meredith,
which persists in
spite of obstacles
that would dis-
courage any less
ardent a Romeo.
His story name
is C h.a r 1 e s
Fownes. Every-
body that has
ever read the
novel will re-
member his
charming love
story . . .

The sketch of Marion Davies at the top of the page was made when
she arrived at the studios . . . before she prepared for the cameras
in the costumes she wears below and on the right. The sketch above
is typical of Marion Davies. She is today the same friendly soul
she was some years ago ... before she knew fame and wealth.
These things which usually bring arrogance of spirit with them have
left Miss Davies simple and unaffected

Maclyn Arbuckle lends his
portly self to the role of Squire
Meredith. The story forces
him to be eternally punishing
Marion in her daughterly role
of rebellious Janice. He asked
the director if they wouldn't
change the story so he might
be kind to her — just once. Inci-
dentally, Mrs. Maclyn Arbuckle
plays Martha Washington

~\^K *

It is pleasant to find your
favorite love stories on the
screen. And at some time in
everyone's life the Paul
Leicester Ford novel of Janice
Meredith enthralls them. With
so many other beloved books
still waiting a celluloid birth
let no producer cry over a
lack of stories

tfTMOTlON PICTURE

Mr. Golinkin
has made a
very interesting
sketch on the
right. Notice
the way in
which both the
director and
the cameraman
crouch low in
order to get a
perspective on
the actor they
are about to
photograph who
is lying on the
ground. And
notice the elec-
tric fan doing
its work. For
this exterior
scene was built
in the studios,
as you may
have discovered
from the studio
lights in the
left hand
corner

The gentleman
below quaffing
a cooling drink,
with no dream
of the Volstead
Act which was
eventually to
come to Amer-
ica, is W . C.
Fields. Mr.
Fields has de-
lighted Broad-
way this season
by his work in
"Poppy," the
musical comedy
in which he
plays opposite
Madge Ken-
nedy. Such
popularity w .1 s
sure to bring
him a movie
engagement

-r.*j ,fi*«».'M*-.«

Make a mental note
to look for the scenes
depicting the Battle
of Trenton, when you
to see "Janice
Meredith." This epi-
sode of the story was
filmed at Plattsburg
and the 26th Infantry
itself "extras" for
these particular scenes

E. Mason Hopper is
directing this story of
Colonial days. And
the quaint settings
which afford the story
much of its charm
were designed by
Joseph Urban who is
responsible for the
backgrounds of both
"Little Old New
York" and "When
Knighthood was in
Flower"

PAG

asmmspe

This sketch of Holbrook Blinn
who gives Lord Clowes his shadow
being was made behind the
camera line . . . while Mr. Blinn
waited for the director's delayed
call of "C-a-m-e-r-a!" Motion
picture actors respond to that
command with the same alacrity
that soldiers manifest at the sound
of the word "F-i-r-e!"

It is Joseph Kilgour who
stands in the role of George
Washington in the Valley
Forge scene above. Casting
directors have never found
anyone better fitted to por-
tray the Father of Our
Country. Personally, we
think it quite unnecessary
to look any farther

Anyone would think that
motion picture producers
had just discovered the
American Revolution. Here
D. W. Griffith has just given
us his "America," which is
actually a historical chron-
icle of the uprising of the
Colonies and the war that
followed. And now "Janice
Meredith" finds its back-
ground and story motiva-
tion in the stirring events
of those brave days

Above is a full-length pencil study

of Harrison Ford. . . . And our

artist captioned the sketch on the

left: "A couple of 'hams'"

Across the SiWersheet

''Tke CKeckaKcos" and "Wanderer
of the Wasteland"

Reviewed by

ADELE WHITELY FLETCHER

WHEN we heard that "The Chechahcos"
(pronounced Chee-Chaw-Koz) was the
first picture actually to be filmed in
Alaska, we decided that it would be inter-
esting, much from the same standpoint that the never-
to-be-forgotten "Nanook of the North" was interesting.
However, this is a far, far hail from the good old Nanook.

We cannot, for the very life of us, understand why the
producers of this picture went to such lengths in the name
of such a cheap and melodramatic story. A Chechahcos,
it seems, is in the vernacular of Alaska, a newcomer, a
"tenderfoot." So the story takes its odd name from its
principal characters, who were among the men and women
that flocked to the Klondike in those frantic days of the
gold-rush. This era affords much material which would
lend itself to a splendid dramatic story — however, it is
absent from this production.

Nor are the characters portrayed by capable actors and
actresses. It has been explained to us that a good cast in this
instance was an impossibility because no prominent people
were either willing to submit themselves to the rigors of a
sojourn in the snowy wilderness or to give the time to this
one picture which the journey in itself would have neces-
sitated. However, we think the burden of- the poor story
would have been heavy, even for an exceptional cast.

The star of this production is the glacier formations
. . . those walls of ice and snow . . . slow-moving, ever
in the direction of some river or sea into which they crash,
terrifying and awe-inspiring masses of white. They

"\7anderer of the "Waste-
land" is one of the most
interesting pictures we
have ever seen. The en-
tire film, which is based
on the Zane Grey story
of the desert, is filmed
in color. It promises
well for the motion
pictures to come when
every production will be
reflected in the beauty
of natural colors

roared into the sea many times
during the story's length but
every time we thrilled with
terror. No dramatic cata-
clysm manoeuvred by an all-
star cast ever moved us as
these cataclysms of ice and
snow.

As a matter of fact, his pro-
duction is invested with in-
numerable scenes of rare

white beauty. We cannot help hoping that the pro-
ducers of "The Chechahcos" will ship their cameras again
to the northern snowfields and bring us back an authentic
story of those dramatic days when the gold-rush made
life up there a chance and an adventure. We believe they
have the vision of a pioneer or they would not have
attempted the impracticability of filming a feature produc-
tion in such a difficult country. It was in their selection of a
story that their perspective became blurred. For "The
Chechahcos" is a chromo in a marvelously beautiful frame.
(Continued on page 119)

"The Che-
chahcos"
(pronounced
Che e-C haw-
Koz) is the
vernacular
for tender-
foot in the
white wilds
of Alaska

The pro-
ducers" of
this picture
have given
us a poor
story badly
acted; but
have pre-
sented it
upon a mar-
velously
beautiful and
wonder f ul
stage

[

Comments
On Other
Productions

The Galloping Fish

EVERYTHING in the way of
broad comedy that has suc-
ceeded in the theater has been in-
corporated here — and the picture
as well as the individual performers
score heavily in the
majority of their many
efforts to amuse the
spectators. It is a swift
comedy — this latest strip
of celluloid from the
Ince factory — and it ap- . -
pears to have been de-
signed primarily for
novelty and freedom of
individualistic work by
an accomplished cast of
comedians. Mr. Ince
has not stinted on pro-
duction. He has lavished
money in dressing up
these old accepted stunts
— and has refurbished
and worked up the gags
and incidents in such
thoro fashion that they
fairly sizzle with sparks
and energy. A studio
capable of putting out
"The Hottentot" is capa-

The title of "Bluff" gives
you a comprehensive idea
of this frail story which
moves in an artificial way
against New York and its
idle rich. Agnes Ayres is
hardly acceptable in this
role, which asks too much
of her

58
Gt

"The Galloping Fish"
has everything in the
way of broad comedy
that has ever been done
before. There is a
laugh most of the way
because the action is
left in the hands of
those fun-makers,
Louise Fazenda, Chester
Conklin, Ford Sterling
and Sidney Chaplin.
"Listen Lester," on the
other hand, aside from
the work of Louise
Fazenda, was too slim
in plot and character-
ization to make a good
picture. It was origi-
nally a musical comedy,
you know

"Borrowed Husbands," as might
be expected, deals with domes-
tic complications in the upper
strata of society. It is a story
well told and presented. And
Florence Vidor and Rockcliffe
Fellowes enact their roles
with authority

CRITICAL PARAGRAPHS

WHICH WILL

GUIDE YOU TO THE

BEST PICTURES

ble of projecting this comedy. But it
isn't within several cuts of the former.
To acquaint you with the story —
would be to try and describe the events
of a three-ring circus. It offers a mere
skeleton plot upon which to thread the
incidents together. It concerns the
adventures of a married
youth who quite unwill-
ingly becomes the guard-
ian of a sea lion who
assists a diving girl. It
is packed with amusing
complications. And there
is a laugh most of the
way. The f unmakers ?
Look you toward Louise
Fazenda, Chester Conk-
lin, Ford Sterling, Sid-
ney Chaplin — and a few
others whose names
have decorated comedies
— and we will tell you
that they are thoroly
schooled in the art of
making fun.

Listen Lester

Once in a while a
musical comedy adapta-
tion carries enough sub-
stance of plot and char-
acterization to make it
comparable with the
original in entertain-
ment values. Such a
picture was "The
Yankee Consul," and
"Oh Lady, Lady." Here
we have a piece which
can be called only mildly

Monte Blue, Marie Prevost, Clara
Bow, Edythe Chapman and Wil-
fred Lucas are the leading players
in "Daughters of Pleasure," which
tells of the temporary moral col-
lapse of a home that was built
upon a wealth too suddenly ac-
quired. This is a truthful plot,
well directed and intelligently acted

amusing — because it lacks breadth and
colorful incident. It takes up the
pattern of the "gay old dog" who at-
tempts to get back some love letters
from his sweetheart.

This romancer, played with fine
sparkle by that finished actor, Alec
Francis, burns up a lot of effort and
railroad fare in his efforts to dodge a
tiresome woman of his acquaintance,
and to regain the letters. Which marks
the pivot of the fun, tho there are in-
corporated some fairly

There is no whirlwind
comedy stuff. There is
nothing to propel a spec-
tator out of his seat —
overcome with mirth.
But he may find mo-
ments of humor and in-
terest in the work of a
well-balanced cast that
comprises, aside from
Mr. Francis, Harry
Myers, Louise Fazenda,
Eva Novak, George
O'Hara, Lee Moran and
Dot Farley.

Borrowed Husbands

Domestic complica-
tions in the upper strata
of society are given a
thoro airing in this
latest twist of the ever-
present eternal triangle.
It is rather heavy in plot
and rather taxes one's
imagination in keeping
up with it. But it may
be cataloged as a society
drama which becomes
quite entangled when
certain friends introduce

Below is Buster Kca-
ton in "Sherlock, Jr."
In this picture Buster
Keaton has a lot up
his sleeve and it
is one of his best
efforts. You'll be sure
to like it

In "Men," under the direction
of a Continental director, Pola
Negri gives her best perform-
ance since "Passion." The
story is trite, but in it Pola acts
with her emotional flair and
the abandon which once marked
her work. The action concerns
itself with Cleo who as the
toast of Paris makes men pay
and pay and pay

The lapse of memory formula has
been taken from its dusty pigeon-
hole to serve as entertainment in
"His Forgotten Wife," a picture
which is very much cut-and-dried.
Madge Bellamy contributes charm
and poise as the wife and Warner
Baxter is excellent in the role of
the veteran

the wife of a departed husband as the
most attractive widow in town and then
proceed to give her a "borrowed" hus-
band. Before the absent husband re-
turns, the spectator is guided thru a
series of melodramatic happenings,
many of which are incredibly far-
fetched and convenient, tho they serve
in shaping a fair amount of suspense.
Romance has a prominent part in the
picture. We follow a few love affairs
between other women's husbands and
other men's wives.
There are several scenes
which build tragic or
near tragic climaxes.
The most commendable
part of the feature is its
interpretation. Florence
Yidor and Rockcliffe
Fellowes succeed in
playing their roles with
authority. It has been
given a highly satisfac-
tory mounting.

Bluff

The movie conception
of New York life is ex-
pressed in this artificial
story which is framed
against a background. of
the idle rich. It has to
do with the power of
"bluff" in putting your-
self over. And a sub-
title has it that bluff is
the only thing that New
Yorkers understand.
Which is a nice crack at
the metropolis, but true
only to your point of
view. It projects a beau-
tiful girl who, unable to
assert her personalitv,

50
PAG

^MOTION PICTURF'
UBI I MAGAZINE L

Every once in a while
a real human story
conies to us in an un-
pretentious film. This
is true of "Riders
Up," in which Creigh-
ton Hale portrays a
race-track tout who
fools the folks back
home into thinking
he is engaged in some
legitimate enterprise.
This is really a good
production

Comedy is Constance Talmadge's
forte and in "The Gold Fish" she
is more attractive than she has
been in sometime because of the
handicap she has known in stories.
Her heroine is the heartless flirt
who believes she must marry men
of wealth and position if she is to
walk in the high places. Zazu
Pitts, Jean Hersholt, Frank Elliot
and Jack Mulhall supplement
the star

bluffs her way with such success that
she lands in police headquarters and
nearly in jail — before the handsome
attorney (true to form and formula) ap-
pears and rescues her from her em-
barrassing situation.

It is a frail narrative, the good points
being expended in the setting and the
wardrobe affected by Agnes Ayres. This
actress is hardly adaptable for such a role.
It asks too much of her. But she tries her
level best to make something of the char-
acter. The same applies to Antonio
Moreno in the part of the attorney.

In "Triumph" Cecil De
Mille has not plunged
into the super-spectacle
field. Compared to his
other efforts, this is really
a modest picture. It is
filled with the hokum of
sharp contrasts and con-
flicts. In this story,
Leatrice Joy, Rod La
Rocque, Victor Varconi
and Charles Ogle give
admirable performances

"The Signal Tower," a story of
railroad life, of course, carries real
thrills. It is a graphic melodrama
and played with good feeling by
Rockcliffe Fellowes, Virginia Valli
and the ever-dependable Wallace
Beery. It is something of a relief
to see a triangle story dealing, not
with the rich, but with simple
working people

upon considerable suggestion and
subtleties of treatment in forcing
home his points. And keeping pace
with the mounting drama is a note of
ironic humor. You anticipate a really
dramatic climax — and while it is a shade
too convenient, nevertheless, it generates a
convincing touch.

The chief characters are a philandering
husband and father, his neglected wife, his
wilful daughter and a gay bounder who is
interested in the girl as a plaything. The
husband begins to play and selects the
daughter's school chum. And the big
moment finds the girl discovering her
father. She hurls words of bitter scorn
at him and resolves

Daughters
Pleasure

Here is a likely
cross-section of life
— of the temporary
moral collapse of a
home built upon
wealth too suddenly
acquired. There are
no moments given
over to dramatic
hokum ; the situa-
tions speak for
themselves — and the
director has taken
this truthful plot
and these genuine
characters and
molded them into a
fascinating yarn.
His target is the
spectator's intel-
as he relies

ligence,
60

G £

to show that she is a
chip of the old
block. She would
entertain an affair
with the young
bounder. But the
voice of conscience
comes to them in
most unexpected
fashion, which re-
leases a spiritual
note.

It's a sound
drama, off the
beaten path of
triangles — and
played with deftness
and authority by
Marie Prevost,
Clara Bow and
Edythe Chapman.
Wilfred Lucas, in a
Lewis Stone type of
role, is not so sue 1 -

(^MOTION PICTURR

"Ridgway of Montana" follows along the well-worn path of the average, orthodox Western

picture. It furnishes no suspense or surprise in a story which depends almost entirely upon

incident. Its romance is found in the premise of a spirited girl who is determined to win the

heart of the bashful hero. Jack Hoxie plays Ridgway and is likable

cessful — and Monte Blue might have injected more spark
in his study of the fast stepper. No shafts of criticism can
be hurled toward this picture. It presents a daring situation
directed in daring fashion. No sops are thrown to the con-
ventions — even tho the moralities save it at the finish.

His Forgotten Wife

From the dusty pigeonhole is lugged the hoary lapse-
of-memory formula to serve as entertainment. As is cus-
tomary with this type of story, the successful operation is
the object striven for and obtained — and when the victim's
memory is restored in the climax, there is nothing left
but to identify himself and the girl he married. It's all
very conventional — very much cut-and-dried from the
moment that a French nurse pretends to find a shell-
shocked soldier's identification card and gives him a
"missing" man's name until he is restored to
health thru the operation.

Coincidence plays an
portant part here. The
victim actually proves
to be the missing man
— and for the pur-
poses of conflict there
is a girl back home
determined to em-
barrass him finan-
cially and roman-
tically before she is
eliminated. There are
several touches that
are unconvincing.
One shows the hero
becoming the butler
in his own home,
while another shows
him having no recol-
lection of his wife
until she actually con-
fronts him after the
operation. It is

rather hastily developed. The acting is satisfactory,
Madge Bellamy contributing charm and poise to the role
of the wife, and Warner Baxter performing well the
part of the shell-shocked veteran.

Sherlock, Jr.

Buster Keaton's deductive powers have been in opera-
tion again. He has discovered some brand-new gags and
incidents. He has played detective so long in trying to
uncover novel tricks that his audience will accept his
newest role as something that he has been playing all
the time, tho here he acts the detective before our eyes.
The story which he fashioned is not so ingenious as "Our
Hospitality" in regard to property inventions, but it does
suffice in rousing the risibilities because there is a
compact line of laughs in the incidents — which
are projected without any slacken-
ing of pace.

Buster enjoys himself
„-<£%. thoroly in satirizing

. the crook melodrama

— even if he does
assume his w. k.
frozen-face expres-
sion. He doubles as
(Cont'd on page 98)

"Why Men Leave Home"
is one of Avery Hop-
wood's bedroom plays
which has managed to
get by the censors. It is
the story of hubby neg-
lecting his wife for his
stenographer ... a di-
vorce follows. It is really
worked out in a fairly
humorous fashion. Lewis
Stone and Helene Chad-
wick are convincing in
their leading roles

61
PAG

Pol

All photographs b.. Ku-hee

You always hear the sons and
daughters of old American
families complain that Euro-
peans come to this country . . .
earn large sums of money . . .
and then return with it to their
native land, with no thought of
allegiance to their Land of
Fortune. This does not hap-
pen to be true of Pola Negri,
however. The part about com-
ing to America and earning
fabulous sums of money is all
right, but Pola has no intention
of leaving the land which has
given her this wealth. She has
sworn allegiance to the Stars
and Stripes by taking out her
first citizenship papers

wears

Allegi

lance

jLhe Countess Domhski

lakes Out Her First

Citizenship Papers

G£.

The truth — and nothing but the
truth — was revealed when Pola
went to court about her citizen-
ship. She said her real name
is Apolonia, the Countess
Dombski; that she is twenty-
seven years old ; that she was
born in Lipno, Poland; weighs
one hundred and twenty-five
pounds; is five feet five inches
high, with a fair complexion
and black hair. The poets who
have written villanelles to
Pola's eyes must have expe-
rienced a shock over her simple
description of them. She an-
nounced them in a matter-of-
fact manner as just "grey"

Outside of becoming a
citizen and making motion
pictures, Pola keeps busy
denying her engagement to
every man with whom she
is seen in public. Now
rumor has her engaged to
Rod La Rocque, and once
more she insists that there
is no truth in it

These pictures
were taken in
and about the
Negri domicile
in Beverly
Hills. However,
Miss Negri also
maintains a
suite at the Hotel
Ambassador in
Los Angeles
proper, where
she stays most
of the time

PAG

The

Conquering

Hero
of tke

Ring

Comes

to the

Movies

Achieve fame in any walk of life,
and a movie contract that reads
like the war debt will be sure to
come your way. Jack Dempsey's
income from his heavyweight
championship is the least part of
his income these days. For he is
occupying a dressing-room at the
Universal studios with a large star
painted on the door. He is mak-
ing a series of ten pictures, to be
called "Fight and Win Stories"

Letters to tine Editor

Laurels for Cullen Landis in "The
Fighting Coward," the screen version
of Tarkington's "Magnolia."

Dear Editor : As I passed one of the
most attractive theaters in St. Louis a
month or so ago, an advertisement caught
my eye which read : "Booth Tarkington's
Big Hit directed by James Cruze, with
finest cast since 'The Covered Wagon.' "
I had remembered the characters in
"Magnolia," so I became eager to know
the movie cast. Ernest Torrence, Mary
Astor, Noah Beery, and Phyllis Haver I
thought suited the roles they were to por-
tray, and "Oh !" I exclaimed, was it really
true — had some director at last awakened
and given Cullen Landis a real star part?
Thanks to Mr. Cruze ; thanks to the people
who said that Cullen Landis is splendid
in the leading role.

That very night I went to see the pic-
ture. I have never missed any of Mr.
Landis' pictures. Since he played the
"Curly Kid" he ih'as been my favorite
actor. Long 'be fore the Sheiks captivated
everyone, I was thrilled by this handsome

lad with college-boy spirits, and that is more than many popular
stars boast of. Not many personalities echo Fraternity proms.
That is why Cullen Landis is bound to get somewhere — he had
really tried. He is talented and always delicious in pictures,
despite the fact that he does not always get the girl.

At last the time that I had been waiting for had come, I told
myself, as I watched the Notorious Cunnel Blake knock out the
big bullies. He was certainly wonderful in the play, and I en-
joyed every scene of it. Everyone around me remarked how
handsome Cullen Landis was ; others said he was perfect in his
part. Young girls even spoke about sending for his picture. So
Cullen Landis has cer-
tainly reached stardom
as far as this city is
concerned. What he
needed was a director
like Mr. Cruze, the
public — by this I mean
everyone in every city —
already likes him.

Norma Talmadge is
my favorite actress. I
also enjoy seeing
Douglas Fairbanks, Jr.
(I hope to see him
again), Lloyd Hughes,
Richard Barthelmess,
Rod La Rocque, Theo-
dore Kosloff, Johnnie
Harron, George
O'Hara, Louise Lor-
raine, and May Mc-
Avoy.

Let me say again that
I hope everyone will
enjoy "The Fighting
Coward," and I hope
Cullen Landis will be
appreciated as its star.

Very truly yours,

MlSS LORETTA RoWE,

St. Louis, Mo.

Every reader of the "Mo-
tion Picture Magazine" is
invited to contribute to this
Page. However, we can use
only letters which give the
writer s name and address.
Only initials will he used in
publication if the writer
prefers it. We pay for all
letters which are accepted
for publication. Five dol-
lars is paid for the letter
deemed the most interest-
ing and worthy of illustra-
tion. Three dollars 7S
paid for the others

the modern side of the story gets half the
praise it deserves. You hear people on all
sides saying : "Yes, it is a wonderful film,
but I liked the beginning much better than
the end." This is not fair ; in this modern
age it would look out of place and ridicu-
lous to put in as much fire or grace as they
had in ancient times, but this does not say
that the acting cannot be just as good in
modern clothes, and I think Rod La
Rocque's acting, as the naughty brother,
was fine, and Leatrice Joy certainly de-
serves praise, and lots of it, too ; also
Charles de Roche made a very good
Rameses. Many people like Richard Dix
best, but after all he did not have as much
to do as Rod La Rocque, and I think that
he and Charles de Roche deserve most
praise of all for their fine acting.

I am sorry to hear that Corinne Griffith
is only going to make a few more films,
for I am one of her devoted admirers, and
I think that the screen will lose a jolly
fine actress.

Conway Tearle is another very fine

actor. I like him best in French costume,

best of all, like he wore in "Ashes of

Vengeance." His acting in that was superb. Norma Talmadge

as "Yoeland" was charming. She is a wonderful actress, and her

portrayal of the cold and haughty Frenchwoman was perfect.

Douglas Fairbanks, of course, does not need praise, but I would
like to siy that it's a real good treat to go to one of his films.

May McAvoy is another very charming actress. I'm sure that
if her parts were chosen carefully, she would soon be more of a
favorite than some of the others.

Very sincerely,

Madelene Murat,
6 Pembridge Gardens, Nottinghill Gate,
London, Ws. W. 8,
England.

A brief for the
modern half of "The
Ten Command-
ments."

Dear Editor : The
other day I went to see
"The Ten Command-
ments." I think that it
is one of the most won-
derful films ever shown,
but I dont think that

Thanks to Mr. Cruze, Cullen Landis has at last been given a star

part. And everyone who sees "The Fighting Coward" lauds him

in the title-role of this screen version of Booth Tarkington's

"Magnolia"

Something to think
about.

Dear Editor : In the
June issue of your
magazine, one reads of
the vain searches for
material being made by
Lubitsch and Seastrom.
While it contains no
help for the latter, I
think this letter may
assist the former.

Lubitsch is a master
of tragedy. Let me tell
him, thru your column,
a true-life story which
he could handle :

"Once there was a
great European actress
who dared abandon her-
self to her art, with the
result that two of her
characterizations so
surpassed the work of
scores of other great
women, that the actress
gained recognition from
the sophisticates in
America; and Commer-
cialism, assuming a
most docile mask, skil-
fully lured the artiste
to this country.

"When the lady was
completely bound by a
nice, strong contract,
she was persuaded to
pluck her eyebrows, bob
her gorgeous hair,
blacken the lids of her

(Cont. on page 109)

65
PAG

Keeping fit is of vital
importance to all
the athlete stars. Their
work is constantly
making demands
upon them in the
hair-raising feats they
perform, and their
bodies must be ready
to accept these tests.
Illustrating this page
are some simple ex-"
ercises for which
George Walsh posed
and which he strongly
recommends. Mr.
Walsh insists that the
average man and
woman exercises only
a comparatively few
muscles, and these
oyer and over again,
while the others get
lax from their long
disuse

The Way
To Keep Fit

The exercise pictured
just above is quite sim-
ple. First one arm is
bent with its fist closed
and then as this arm is
extended and the fingers
spread the other arm
bends with the fist closing

In the upper left hand corner and to the right are two forms of
the knee-bending exercise which Mr. Walsh especially recom-
mends for people cooped up in offices. However, both of these
knee-bending illustrations exercise different muscles and should
be followed carefully. Mr. Walsh admits that the knee-bending
exercise on the right and the position on the left make it difficult
at first to keep your balance. However, he insists that practice of
these exercises improves your balancing with results in health

and pep

GS.

The
Keatons
Present

Baby
Robert

Bring up a child in
the way he shall
grow, says an old
Bihlical text. Mr.
and Mrs. Buster Kea-
ton seem to be fol-
lowing this precept in
regard to both of
their sons. Joseph
has already made his
debut before the mo-
tion picture camera.
Now Robert Tal-
madge gazes into a
lens at a very tender
age. And, consider-
ing their much photo-
graphed father,
mother and aunts, it
is not unlikely that
these Keaton boys will
also turn to the motion
picture camera when
they grow to a man's
estate

PAG

' 7 |- J

<gU.

On me Camera Coast

Photograph (above) by
J. C. Milligan

Charlie Ray is
bravely starting his
professional life over
again at the Ince
studio where his
fame was originally
made. He has taken
the failure of "The
Courtship of Miles
St an dish" philoso-
phically, and Thomas
H. Ince is glad to
have him in his
studios again

968

POLA NEGRI and Rod La Rocque — well, they deny it.
Charlie Chaplin and Mrs. "Reggie" Vanderbilt's twin
sister, Thelma Morgan Converse, well, they deny it.

Bert Lytell and Claire Windsor — well, they more or less
deny it.

This much, however, "stands out with startling and unassailable
clearness" — as the politicians say : somebody in Hollywood ought
to invent a new formula for denying engagements. They always
say the same thing — "Mr. Pickles is a very wonderful man and his
friendship has been an inspiration to me ; but we are just good
friends : that's all."

Pola did vary it a little. She said that the rumor of her engage-
ment to Rod La Rocque came about because a bunch of movie
folk have been dining together once a week : Mr. and Mrs. Charles
Eyton, Mr. and Mrs. Tony Moreno, and Mr. and Mrs. Marshall

Neilan. So it was just naturally supposed
that matrimony would be catching from
force of example.

Whatever else, Norma Talmadge is no
piker when it comes to directors. Follow-
ing the announcement that she is going to
hire Sidney Olcott at $3,700, comes the
news that she has contracted with Fred
Niblo to make a picture with her at $4,000
a week. It is said that these are the high-
est prices that have ever been paid to any
directors since motion pictures weri
invented.

Mr. Niblo states that he is going t<
make a picture with Norma that will be an
adaption of a classic drama. I have heard
that Mr. Niblo intends to make "L'Aig-
lon" ; but I dont know whether with Norma
or somebody else. It would be a wonder-
ful picture. Altho it is the story of the
young son of Napoleon, it has always been
played by women — by Bernhardt and
Maude Adams.

Altho the producers have all registered
a solemn vow never again to make a cos-
tume picture, it looks as tho most of them
were on the way to do it. Following
this announcement from Niblo, comes
the news that Harry Beaumont is go-
ing to make "Deburau" for Warner
Brothers. He was the director who
made "Beau Brummel." Dimitri
Buchowetzki insists he is going to
make a monster costume on the life
of Napoleon.

What is worrying Norma, however,
isn't her new play ; but her new house.
When Fatty Arbuckle blew up finan-
cially, Norma took over his house on
West Adams Street near E. L.
Doheny, of oil-investigation fame.
She sold this the other day and is start-
ing to build another one out in Beverly
Hills. Norma says she is never going
to have another house the size of the
Grand Central Terminal. The nexti
one is going to be a little cot — doubt-
less about the size of the Pennsylvania
depot. Norma says all that she is
very particular about is that it shall
have a big attic where she can keep
her old costumes ; and a swimming-
pool and some stables for her horses!
and some other things.

No wonder Baby
Peggy nestles so con-
tentedly in the gentle-
man's arm. The
gentleman is Sol
Lesser, who brought
Jackie Coogan to
juvenile fame . . . and
who is now devoting
his managerial efforts
to Mistress Mont-
gomery's future. Bert
Lytell had barely un-
packed his luggage on
his arrival in Califor-
nia, after his sojourn
abroad, when a wire
called him back to
New York. Maryon
Aye and Virginia
Brown Faire, who saw
him off at the train,
think the long-dis-
tance commuting a
huge joke . . . and
Bert doesn't look as tho
it bored him either

Harry Carr Gossips of Professional
ana Social Activities

Theda Bara, after her long absence from the screen, is starting
again. A company has been organized on purpose to make her into
pictures. The first one will be "Declassee," made famous by Ethel
Barrvmore. Miss Bara has been living almost the life of a recluse
at Beverly Hills.

One of the most pitiful and singular dramas of Hollywood was
the suicide of Robert Hewes, a young screen author and publicity
man. Young Hewes had an unhappy love affair and made up his
mind to take his life. A fiction story of his had just been accepted
for publication and the publisher had sent him the proofs for final
correction. He sent a calm, quiet letter to this editor stating that if
any other corrections were needed the}- should be taken up with one
of his friends whom he named, as he was to kill himself that night.

Mrs. Wallace Reid, like Florence Lawrence and several other
former screen actresses, has become a real estater. She has gone
into partnership with a well-known firm of realtors. An-
other interesting thing about Mrs. Reid is that a revolu-
tionary discovery in relation to the dope habit is said
to have been made at the memorial hospital estab-
lished last year in Los Angeles in memory of Wally.
The physicians have not yet given the facts to
the public as they wish to wait until they are
absolutely sure.

Corinne Griffith has started a very expensive fad
which all the movie girls have
grabbed up with avidity. It
is for wearing old Chinese
mandarin robes for dressing-
gowns. Of course they have
alvvavs worn mandarin robes ;
but it doesn't count from now
on unless the robes look as tho
the\' had come out of a rag-
bag. They have to show the
signs of age and wear in the
softness of their colors. If it
can be proved that Confucius
wore it, so much the better.
Madeline Hurlock has the old-
est and most mysterious-look-
ing one found so far.

The other things that Miss Griffith
is collecting consist of prize-win-
ning beauties. She is making a pic-
ture called "For Sale" in which are
to appear Marga La Rubin who won
the beauty prize offered by the
Loudon Daily Mirror; Georgia Hale
who was "Miss Chicago" in the last
Atlantic City bathing-suit parade ;
and Justine Valso who has recently
come from Italy with a prize offered
by the Roman newspapers for the
most perfect form in the world — or
the universe or some place.

Maurice Tourneur is a cynical and
charming gentleman. The other day
he celebrated his tenth anniversary in
America to which he came from
France for the purpose of making
movies. "During those ten years,"
he said, "I have made money on
many poor pictures and lost money
on many good ones."

They didn't discover until Cecil
De Mille had made all the arrange-
ments for casting "Feet of Clay"
(Continued on page 82)

Norma Talmadge's screen
kisses are famous. How-
ever, her greeting to her
husband, Joseph Schenck.
upon his return from
New York, bears up well
by comparison, say we.
Along with erstwhile
famous beauties, Barbara
La Marr endorses the

milk bath However.

truth impels us to ad-
mit that this is a scene
from "The White Moth"

"Play Ball!" And
King Vidor, Chester
Lyons, his camera-
man, and David
Howard, his assist-
ant director, proceed
to do so while they
wait for a set on
which the carpenters
are busily working.
And here we have
Mr. and Mrs. Dema-
rest Lanson. As the
society sheets would
say, Mrs. Lanson is
known profession-
ally as Virginia Valli

PAG

Ladies from the somnolent East urge
you to hurry to your seat

In the New York Theater ^C^here J^lorris Gest
Presents " The Thief of Bagdad"

East Is West

By HELEN E. HOKINSON

The hox-office clerk, ensconced behind
the harem grating, seems strangely out of
place. And he never has "two for this
afternoon's matinee." We dont know
whether its Doug Fairbanks or the
elaborate Gest presentation but they're
usually sold out

During the intermission, the same foreign ladies scurry

about with Turkish coffee. (What does it matter if they

shout in a nasal voice, reminiscent of Broadway, "One

side please!")

In the lobby, natives of Bagdad

furnish weird music from equally

weird instruments

AG£

Merton

omes

ome

Photograph hy Pach Brother

"Merton of the Movies" first came to us between the
covers of the widely read Harry Leon Wilson novel.
Merton Gill symbolized every youth who dreams of
leaving monotonous days behind him when he claims
the wealth and fame he knows awaits him in Holly-
wood. He satirized movie stars, when success did
finally come to him, as he said all the things and did
all the things which stars have been credited with
saying and doing ever since the beginning. . . .

■« *s>

*» •$

Glenn Hunter then brought Merton to life on the
stage. The public who had adored Merton in the
novel, now cherished him in the person of Glenn
Hunter. And for over two years Glenn has been
talking about his wife's being "his best pal and sever-
est critic" in all the big cities of the country. Now
Glenn is bringing Merton home to the movies. James
Cruze is at the megaphone— that is encouraging.
And Viola Dana is to play the Montague girl

71
PAG

First .of all, we hasten to explain
the picture at the left. Richard
Dix and Bebe Daniels are not go-
ing to do "Romeo and Juliet" on
the screen. They wore these cos-
tumes for a burlesque of this
Shakespearian tragedy which they
gave at the recent T. N. T. dinner
at the Hotel Astor in New York
City. The young man just above
is not a movie actor. He might be
had he not chosen to be a writer
instead. Perhaps you remember
Willis Goldbeck who formerly
contributed to this publication.
Now he is one of the eminent
scenarists and has been entrusted
to adapt the whimsical "Peter
Pan" to the screen. On the right
are Lillian and Dorothy Gish . . .
once again playing together in
"Romola"

Our Reporter's Notebook

Paragraph Jottings h$ Rutk G. Bowman

THERE'S many a slip — when
David Wark Griffith went
over to Rome to confer with
the Italian Commercial Syn-
dicate in reference to filming such
pictures for them as would bring
back the film prestige that Italy en-
joyed before the war, we feared we
had lost the star director to the old
world, for a time at least. But Mr.
Griffith, with a master's eye, was
quick to see difficulties and has re-
turned to America to think it over —
there was no studio equipped electri-
cally for big production and further-
more as D. W. does not speak Italian,
it looked more like a riot to him
than anything else when he thought
of having to direct thru an inter-
preter. To complicate matters still
more, the cast was to be a mixed one,
Italian-American.

However, fast on Mr. Griffith's
heels when he returned to this country,
came Commander G. A. Serrao, rep-
resentative of the Syndicate, to offer
additional persuasions — among them
a big modern studio that is nearing
completion. Mr. Griffith evidently

72
Gi.

Orville Caldwell has given this
past spring and winter to his role
of the Knight in that rarely beauti-
ful and inspired "Miracle." In this
Max Reinhardt spectacle he has
achieved no meager measure of
success. But he is a devotee of
the screen drama and has signed
a contract to play in Elmer
Clifton's "Crossed Wires"

realizes the enormity of this movie
venture, backed as it is by the Banco
Commercial and indorsed by the
government of Italy. While in Italy, j
he saw the country under Mussolini
and his special guards, and the re-
habilitated nation with all work- 1
ing harder and more enthusias-i
tically than they have ever before, '
was an inspiration to him and won
his sympathy.

Extremely pleasant, his visit
apparently lifted ten years from his
age and added ten pounds to his
weight. He says that he doesn't
wonder Italian bankers want to show ]
their countrymen something of their
wonderful scenery on the silversheet
rather than the everlasting California
mountains, and to film some of their
masterpieces, such as "Romulus and
Remus" and "Horatio at the Bridge," ;
rather than all-American stories.
But the estimate of production com-
puted from the American viewpoint ,
staggers the Italian bankers, as they
are accustomed to paying their stars
what our carpenters receive for a I
day's work here. As for the pooJB

aom\m pictur[

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Polish. Between manicures keep the nails healthy with Cuticle
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PAG

HMOTION PICTURP
1)01 I MAGAZINE L

Miotograph Ij\
international Ncwsrecl

Marion Davies made the
first transatlantic voice
test on the . radio from
Station W J Z. Cables
report that Miss Davies
was heard by radio fans
in London, Paris and
Belgium, as well as by a
number of ocean liners.
On the right is Arthur
Hammerstein, father of
Elaine Hammerstein, and
his bride, Dorothy
Dalton. Mr. and Mrs.
Hammerstein are now
on their wedding- trip
abroad

extra, fifty cents a day is the rate for him. with the raise
of a lira or two every time he shouts "Bravo" or anything
equally important. Mr. Griffith is thinking things over,
and meanwhile it is possible that he will make the second,
and perhaps, the third film of the series "America." The
first of the series, "The Sacrifice," is being shown and is
hailed as another Griffith masterpiece.

Another obstacle to making films in sunny Italy is the
lack of that much press-agented Old World sunshine. It
is reported by film stars already returned to this country
that June Mathis and' Charles Brabin. who are filming
"BenHur" over there, are suffering all kinds of
hard luck because of bad weather. Time
and time again they've engaged mobs and
arena crowds and have not been able to
take a single shot. It is whispered,
too, that the reason the Gish sisters
have returned to do their film work
on this side is, again, the weather.

A fair exchange — so Mack Sen-
nett and Flo Ziegfeld seem to think
— Mack is continually getting the
Follies' beauties into bathing suits
and putting them into pictures, and
Flo, on the other hand, is everlastingly
rescuing Mack's mermaids from the
surf and putting them behind the foot-
lights. Alice Day has been promoted to
a feminine lead in a two-reel Sennett
comedy, and her sister, Marceline, has
been honored equally, and will play the
feminine lead opposite Harry Langdon in
"Watch Out." Madeline Hurlock and
Frank Coleman will play the heavy roles.
Both Alice and Marceline are ex-Follies'
girls. Meanwhile, in the last six months,
five Sennett girls have gone over to the
Ziegffeld Follies.

A questionnaire for
/7\ invented the first film ?"
f 74 .

Edison— "Who
Answer yes or

Andre L. Daven was a re-
porter on a French news-
paper and Rodolph Valen-
tino met him recently
during his sojourn in Paris.
Believing that Mr. Daven
is a particularly gifted
writer, he brought him back
with him to America. Mr.
Daven has played a minor
role in "Beaucaire" and, at
the same time, written a
series of impressions of
America, our studios and,
of course, Valentino

no. The Fox Company has a film and motion picture
camera created by one Max Skladanowski, a German-
Pole, which they claim they can prove antedates Edison's
invention. American statistics give the Edison date as
1893. The date of the German's invention is said to be
1890. The film itself is about three times as wide as
present-day films are, and the projection machine
extremely crude. The subject shown is short, as only a
few feet of film could be shot at a time. It depicts a
parade of soldiers in Berlin, the grand mount, Herr von
Bismarck, the German Chancellor, in uniform with the
famous spiked helmet, and Herr Bebel, one of the
pioneer socialists of the Empire. The film will
be run as a Fox newsreel feature. It will
probably start something of a controversy.

The hunt for locations for filming
"Wanderer of the Wasteland" was
almost as thrilling a tale as the story
you will see on the screen. For
days Billy Dove, the feminine lead,
with her husband, Irvin Willat.
director, his assistant and a guide
motored thru Death Valley, said to
be the most weirdly beautiful place
in the world. On the edge of the
valley itself they found a grass-
covered oasis, the accomplishment of an
Indian, who is not only resourceful
enough to provide water for his cattle,
but who has built a swimming-pool for
his squaws and himself!

The Book of Knowledge on the screen
— the Independent Pictures Corporation
has announced this contribution as an
early release. It will be issued in fifty-
two single-reel films. Each film will con-
tain eight questions such as children ask
of distracted parents, viz. : "What is
fire?" "What makes a ball bounce?"
"How do fish breathe?" "What is
(Continued on page 80)

OPTION PICTURr

Why You, too, Can *

Have Beautiful Hair

How famous Movie Stars keep their hair soft

and silky, bright and fresh-looking,

full of life and lustre.

BEAUTIFUL hair is no longer a matter
of luck.

You, too, can have hair that is charm-
ing and attractive.

Beautiful hair depends almost entirely
upon the way you shampoo it.

Proper shampooing is what brings out
all the real life and lustre, all the natural
wave and color and makes it soft, fresh
and luxuriant.

When your hair is dry, dull and heavy,
lifeless, stiff and gummy, and the strands
cling together, and it feels harsh and dis-
agreeable to the touch, it is because your
hair has not been shampooed properly.

When your hair has been shampooed
properly, and is thoroughly clean, it will
be glossy, smooth and bright, delight-
fully fresh-looking, soft and silky.

While your hair must have frequent
and regular washing to keep it beautiful,
it cannot stand the harsh effect of ordi-
nary soaps. The free alkali in ordinary
soaps soon dries the scalp, makes the hair
brittle and ruins it.

That is why leading motion picture
stars and discriminating women, every-
where, now use Mulsified cocoanut oil
shampoo. This clear, pure and entirely
greaseless product brings out all the real
beauty of the hair and cannot possibly
injure. It does not dry the scalp or make
the hair brittle, no matter how often you
use it.

If you want to see how really beautiful
you can make your hair look, just follow
this simple method.

A Simple, Easy Method

FIRST, wet the hair and scalp in clear
warm water. Then apply a little
Mulsified cocoanut oil shampoo, rubbing
it in thoroughly all over the scalp, and
throughout the entire length, down to the
ends of the hair. "i

Two or three teaspoonfuls will make an
abundance of rich, creamy lather. This
should be rubbed in thoroughly and
briskly with the finger tips, so as to
loosen the dandruff and small particles of
dust and dirt that stick to the scalp.

After rubbing in the rich, creamy
Mulsified lather, rinse the hair and scalp

thoroughly — always using clear, fresh,
warm water. Then use another applica-
tion of Mulsified, again working up a
lather and rubbing it in briskly as before.
You will notice the difference in your
hair even before it is dry, for it will be soft
and silky in the water. The strands will
fall apart easily, each separate hair float-
ing alone in the water, and the entire
mass, even while wet, will feel loose,
fluffy and light to the touch and be so
clean it will fairly squeak when you pull it
through your fingers.

Rinse the Hair Thoroughly

THIS is very important. After the
final washing, the hair and scalp
should be rinsed in at least two changes of
good warm water. When you have rinsed
the hair thoroughly, wring it as dry as
you can, and finish by rubbing it with a
towel, shaking it and fluffing it until it is
dry. Then give it a good brushing.

After a Mulsified shampoo you will
find your hair will dry quickly and evenly
and have the appearance of being much
thicker and heavier than it really is.

******

If you want to always be remembered
for your beautiful, well-kept hair, make
it a rule to set a certain day each week for
a Mulsified cocoanut oil shampoo. This
regular weekly shampooing will keep the
scalp soft and the hair fine and silky,
bright, fresh-looking and fluffy, wavy,
and easy to manage — and it will be no-
ticed and admired
by everyone. You
can get Mulsified
cocoanut oil sham-
poo at any drug
store or toilet goods
counter, anywhere in
the wo rid. A4-ounce
bottle should last for
months.

Splendid for Children
— Fine for Men

Wat|

MulsifiecL

Cocoanut Oil Shampoo

Betty

mpson

Trie Answer Man

This department is for information of general interest only. Those who desire answers by
mail, a list of film manufacturers, etc., must enclose a stamped, addressed envelope. All in-
quiries should contain the name and address of the writer, and, if it is desired that a fictitious
name be used in answering, it should be written in the upper left-hand corner of the letter

C. H., Denver. — Fire away ! This is the month for it. Why,
Richard Dix is about thirty-one years old. No, he is not his son.
House Peters has been signed up by Universal to star in a series
of eight pictures.

Boomerang, England. — All the way across the briny. So this is
your first epistle ; welcome to the fold. Warner Baxter is playing
in "Those Who Dance" right now, but he was born in Columbus,
Ohio. So you think you would like to have Rodolph Valentino and
Thomas Meighan on the cover. Sorry you dont like Vargas'
drawings. Mary Miles M inter is not playing now. That's some
joke of yours — "why did the farmer call his white pig ink —
because he ran out the pen." Haw, haw.

S. E. G., Philadelphia. — Well, all I can tell you about Milton
Sills is that he was born in Chicago, in 1882, and is married to
Gladys Wynn and has a daughter, Dorothy. He played on the
stage for eight years as leading man. He is with First National
right now, playing with Corinne Griffith in "Single Wives."

L. K., New York. — Why, by "Flying Dutchman" we mean a
specter ship, cruising about the cape of Good Hope and said to
forbode trouble to whoever sees it. Address Eugene O'Brien at
the Talmadge Productions, S341 Melrose Avenue, Los Angeles,
California. Glad you like the magazine.

Alvina P. — Well, there's nothing half so sweet in life as love's
young dream. I have no record whatever of Thomas F. Tracey.
Anybody know?

Winifred M. C, New Zealand. — Your letter was mighty inter-
esting. Because Democritus of Abdera believed that life was only
to be laughed at, he was known as the "laughing Philosopher."
Anyway, dont take it too seriously, life's too short. Couldn't very
well give you the twelve addresses you ask for right here. James
Kirkwood is to play opposite Mae Murray in "Circe." Run in
again, some time.

R. M. S., San Francisco. — Well, you know what Oscar Wilde
said : "You should never try to understand women. Women are
pictures, men are problems. If you want to know what a woman
really means, which, by the way, is always a dangerous thing to do
— look at her, dont listen to her." Write to Richard Dix at
Famous Players-Lasky, Astoria, Long Island. Colleen Moore and
Conway Tearle in "Counterfeit."

Maybelle S. — Tell your brother for me that a married man
has many cares, but a bachelor has no pleasures. I know.
After living these some odd eighty years I could write
a book on the subject. Tom Forman is directing
right now and the other three players are not
playing at present. You would be surprised at
the number of well-known players who are
not playing right now.

I. C. V. — You want to know if the actors
play what the director gives them, or if
they can pick their own play. No child, the
player is usually quite pleased to play in
anything the director selects for him.
George Larkin was born in 1890 and he is
married to Ollie Kirby. Richard Talmadge
is not related to the Talmadge girls.

Dorothy U. W., St. Paul. — I like your
paper very much. You refer to Forrest
Stanley as Michael in "Tiger Rose." An-
tonio Moreno is playing in "Tiger Love" .
with Estelle Taylor. Lois Wilson is five
feet five and a half, and Monte Blue is not
married. Is that all for today?

Tillie the Tailer. — Oh boy ! You call
it a treat, and suggest that I publish my
picture at the beginning of this department.
That would never do. I'm much better to
write to than to look at. No,
Laurette and Estelle Taylor are not
sisters, but Irene and Lillian Rich
are. That's the only name I know ..,

Nita Naldi by. Dont know who said, "Why did she love him?
Curious fool! be still; Is human love the growth of human will?"
Sounds like Byron.

June, California. — So you have a hunch that I am a girl.
All wrong. Enid Bennett is playing opposite Milton Sills in "The
Sea Hawk." She has signed up to play in Fred Niblo's "The
Red Lily" with Ramon Noyarro. You want to see more Mary
Pickford pictures. So do we all.

Harold F. W. — So you know from a friend of yours that I
am a young man. He is a friend of mine, too. Well, here goes.
Tom Mix was born in 1880. Never heard that story about his
horse. That is Pearl White's real name. Yes, she does wear a
wig sometimes and she is about thirty. Yes, Dorothy Dalton
married Arthur Hammerstein in Chicago.

I Wanna Know. — You can write to Virginia Warwick at the
Christie Comedies, 6101 Sunset Boulevard, Los Angeles, California.
Hurrah for Pat ! Pat O'Malley's third baby girl was christened
Mary Kathleen. Her sisters are Eileen and Sheila. Best wishes
to them.

L. L. Irvington, New Jersey. — That's right, when you have
nothing to do, write to me. So you want to see more of J. Warren
Kerrigan. Jackie Coogan's last picture before he starts on his
milk crusade will be "Dirty Hands." "Little Robinson Crusoe"
has been completed.

Peter Pepp. — So you dont think she is as beautiful as she used
to be. Perhaps she has washed it off. Grace Cunard has not been
playing for some time. No, Chester Conklin is not related to the
Conklin Fountain Pen Co., whoever they are. William Scott has
an importart part in "Dante's Inferno" with Pauline Starke, Ralph
Lewis and Gloria Grey. Write me quantum libet.

Jill, England. — My word, I was glad to hear from you. Hope
you have fully recovered now, and you say you wish you could
thank Mary Pickford, Richard Barthelmess and me for all the
comfort we have given you. We hereby accept thanks. Do write
to me again.

Chicot, Carshalton. — So you like Patsy Ruth Miller. She
was born June 22, 1905, and is playing in "Strathmore" with
Wyndham Standing, for Fox. Mrs. Sidney Drew has rented space
at the Hollywood studios and is working on the first of a series of
four comedies in which she will star.

Edmonton, Canada. — Yes, I have read something about
the mud affairs for beauty, but it hasn't done much for
the turtle, you know. Tom Mix has two children ;
one by a former marriage, having been married
twice. Now, now, I dont know what Lois
Wilson's salary is, but I am sure it is a great
deal larger than my twelve dollars per week.
No, May Collins and Gladys George are not
playing now. Charlie Chaplin was married
to Mildred Harris for about two years, but
they didn't live together that long. Anna Q.
Nilsson was married to Guy Coombs and is
married to John Gunnison, but she was
never Mrs. Franklyn Farnum. Buddy Mes-
senger in the Century Comedies. Bobby
Vernon born in Chicago. Your typing was
good, keep it up. So long for this time.

Barbara E. J. — Yes, the tallest building
in the world is to be erected once again in
New York City. Ramon Novarro is twenty-
three and he was born in Durango, Mexico.
He was a dancer, you know, and is now
playing in "The Arab" and "The Red Lily."
Dark hair and eyes, and is five feet ten and
weighs 160 pounds.

Pittsburgh Baby. — Ah, your batting
average is away down, come out of the
cellar. Richard Barthelmess is twenty-nine,
and he was born in New York City. Rod
LaRocque is about twenty-six. Dorothy
Black was the daughter in "Lillies of the

^psssm^

Are You Working Toward

Beauty?

Do you know that the charm that appears most casual
Is that which has been striven for most carefully?

The Life of a Mannequin

The most beautiful maxnequin in Paris discloses her own true story. It is
not just one lovely gown after another, but days of work, nights of study and
privation. She gives her routine: How long she sleeps, what she eats, how she exer-
cises, how she makes up, and how she recreates.

The Women of India

AN article BY Syud Hossian, Indian Prince and lineal descendant of
Mohammed, describes the Oriental woman, not the half-peri, half-devil that we
of the Occident are apt to believe her, but the reverenced mother and wife who, genera-
tion after generation, has controlled her household and managed her property.

Marilyn Miller tells what
she would do if she were a
brunette. Marilyn declares
that mock vamps cast their
shadows on brunettes.

Are you afraid of the

water? An instructive ar-
ticle, well illustrated, show-
ing you how to conduct your-
self when in the water.

Pola Negri visualizes what
she would do if she were a
blonde. Pola says that per-
oxide blondes ruin the true
blonde's character.

Dangerous impulses — an

article in which you are
warned against letting your
subconscious self get the
upper hand. Know yourself.

The Gown of Gold, by Frances Harmer. A delightfully human story of two sisters
— the old Cinderella theme in modern environment.

The Mad Masquerade, by W. Carey Wonderly.
intrigue and adventure — thrilling, up-to-the-minute.

A seven-part story of romance,

Special Introductory Offer — 5 Months for $1.00

Because we want you to know that Beauty is in reality the aristocrat of women's magazines, we
will send you the next five big numbers upon receipt of the introductory price of $1.00. Put a
dollar bill into an envelope and mail it right now before you have time to forget it.

You cannot afford

to miss

the

August
Beauty

Pin a Dollar Bill to this coupon and receive the next five bigr numbers of I
"Beauty" Magazine. Mail at once to BEAUTY, 175 Dnffield St., Brooklyn, N. I. I

Name ■ |B

St. and No

City. ... State

On the News-stands July 15th

PAG

"MOTION PICTURP
VI I MAGAZINE L.

Field." Well, we seldom appreciate beauty until it is on the decline,
and then wc cling to and treasure its wreck with jealous care.
Grace is to the body what good sense is to the mind.

Kathryn. — Honest, I have a beard, and it is mighty warm these
summer nights. Carmel Myers is abroad at this writing, but you
can write to her at Goldwyn Studio, Culver City, California. Yes,
that is her real name, and she is twenty-three. She has green eyes
and dark hair. Pauline Garon is also at Goldwyn. You were all
right.

Richmond, N. S. W. — I believe St. Peter's, at Rome, is said
to be the most splendid church building in the world. So you liked
"The Covered Wagon." Colleen Moore is twenty-two, Patsy Ruth
Miller nineteen, J. Warren Kerrigan thirty-six. And along came
Viola. Viola Dana's last for Metro will be "Wickedness Pre-
ferred," after which she will go to Famous Players to play the
Montague Girl to Glenn Hunter's Merton in "Mcrton of the
Movies." She is also being considered for the role of Peter Pan.

A. A. L. H., Sewanee. — Here you are. Laura LaPlante was
born in St. Louis, Missouri, November 1, 1904. She started with
First National three years ago and now has a contract with
Universal. She is not married, five feet two, one hundred and
twelve pounds. Brown hair and grey eyes. May McAvoy born
September 8, 1901. Remember that a woman's friendship borders
more closely on love than man's. Yours was a gem.

Mickey. — Yes, Milton Sills is forty-two. You say men would
be saints if they loved God as they love women. Ha, ha. Madge
Bellamy in Universal's "Glory."

Florence, Philadelphia. — It ought to be an easy language for
you to learn. The Italian alphabet contains the least number of
letters, twenty ; and the Chinese the most, two hundred and four-
teen. I cannot say whether Lila Lee is going to make any more
pictures with Thomas Meighan. Mabel Ballin is playing in "The
Prairie Wife" and Mrs. Reid is going to make another picture.
Yes, I remember "The Idler" and Teft Johnson and Rose Tapley
had the leads. Your letter was mighty interesting. Run in again
some time.

Eloise B. — Yes, and beauty is the first gift Nature gives to
woman, and the first she takes from her. Alice Terry is twenty-
eight and Rex Ingram is thirty-two. Bill Hart's last picture was
"Singer Jim McGee."

M. L. N. — That was a beautiful card you sent me. Wish I had
a country place like it.

Mignotte D. — Just like a woman. The desire to please is
born in women before the desire to love. Corinne Griffith in
"Single Wives" with Milton Sills, and Conway Tearle in "Counter-
feit," with Colleen Moore. Ethel Clayton is expected to return
to the screen soon.

Two Necessary Evils.- — Ignace Paderewski was born in Rus-
sian Poland in 1859 and made his debut in 1887. Monte Blue was
born in 1890. No he isn't married. George Walsh is divorced
from Seena Owen.

Molly.— Bert Lytell at the Tech Art Studios, 318 East 48th
Street, New York City. He was born February 24, 1885.

Margaret S.— Yes, indeed, I have been playing Mah Jong and
manage fairly well. The disease you speak of, I believe, is caused
from handling the lacquer boxes which contain an offending sub-
stance derived from a plant of the same class as poison ivy. You can
write Rodolph Valentino at the Lasky Studio, Astoria, Long Island.

Bunny. — Why, Lila Lee and James Kirkwood were married on
July 25th, 1923.

Velette. — Thanks very much; you say that Corinne Griffith,
Mary Pickford, Pauline Starke, Laurette Taylor, Norma Talmadge
and Florence Vidor were chosen by Neysa McMein in a recent
contest.

Star Gazer. — You ought to use saccharine which is two hundred
and twenty times sweeter than sugar. Milton Sills has grey eyes,
and he has naturally curly hair. Born in Chicago, but he lives in
California. So you think Colleen Moore is the best flapper in
pictures. Von Stroheim is to direct Mae Murray in "The Merry
Widow."

Rebecca C. — Sunlight will penetrate clear water to a depth of
fifteen hundred feet. "The Marriage Maker" was adapted from
Edward Knoblock's "The Faun." Richard Barthelmess is five
feet seven. He has been married since June 18, 1920. He weighs
one hundred and thirty-five pounds.

Grace VanN. — I always remembered what Oscar
Wilde said, "The lovers' pleasure, like that of
the hunter, is in the chase, and the brightest
beauty loses half its merit, as the flower its
perfume, when the willing hand can reach
it too easily. There must be doubt ; there
must be difficulty and danger." Tom
Moore is to play with Laurette Taylor
in "One Night in Rome." George

O'Harra at the Film Booking Office, 780 Gower Street, Los
Angeles, California.

Cutie. — Barbara La Marr at the Sawyer-Lubin Productions and
Pat O'Malley at Metro. Renee Adoree is abroad at this writing.

Edith. — Arthur Edmund Carevve doesn't tell his age ; he was
born in Trebizond, Armenia, and educated in France. He appeared
on the stage for nine years before making his screen debut. He
is six feet tall, weighs one hundred and sixty-five pounds and has
black hair and brown eyes.

Cicero.— I dont think Cyrano de Bergerac has been done in
pictures. You know he was a real person, born in Perigord in
1619 and noted for his courage in the field and his wonderful
swordsmanship. He fought over a hundred duels, most of them
because of his extremely large nose. His writings, tho crude, are
full of invention, vigor and wit. He was made the hero of a
drama by Edmond Rostand and died in 1655. Walter Hampden
is playing the stage version of Rostand's play in New York now.
You want to see more of Walter McGrail. He is six feet and
is not married right now. Thirty-five years old. Your French
was very interesting.

Quaker. — Lillian Gish is with Inspiration, 565 Fifth Avenue,
New York City. She is twenty-eight, and was born in Springfield,
Ohio. I forwarded your letter.

Pelma B. — In the olden days, my time, men knew life too early
and women knew life too late. Not so in this age. A child of six
knows as much or more than its grandmother. Percy Marmont,
Marganta Fisher and Virginia Valli will play in "K, — the Un-
known." Dorothy Gish is twenty-six. Alice Terry twenty-eight
and Harold Lloyd thirty-one. You might write Miss Gish.

Pug. — No, I never did play the violin. I play the ukulele, tho.
There are six hundred and two "Strads" violins, made by the famous
Italian Stradivari, known to be in existence. Address Corinne
Griffith at First National Pictures, 5341 Melrose Avenues, Los
Angeles, California.

Edwin T. F. — I certainly enjoyed your verses, especially "The
Old Willow Tree." You are quite a poet. We will have to get
a fireplace between us next winter.

Helen A. F. — What next, nearly nine thousand farms in
Missouri are superintended by women. But, "how you goin' to keep
them down on the farm after they've seen Broadway !" John
Gilbert was born in 1895 and he is married to Leatrice Joy. Ed-
ward Burns in "The Humming Bird." Edmund Lowe and Alma
Tell in "The Silent Command."

L. R., Canada. — Charles Buck Jones is twenty-nine, five feet
eleven and three quarters, and he is married. He is playing in
"The Circus Rider." Address him at Fox. Ramon Novarro is
about twenty-three, five feet ten. George P. Morris wrote "Wood-
man Spare That Tree."

Norma Talmadge Fan. — Where did you get that news? Norma
Talmadge has never been a mother, tho one of the twins you
refer to was named after Norma Talmadge. James Kirkwood
and Lila Lee are on their third and final co-starring picture for
Hodkinson. It is entitled, "Another Man's Wife."

Cutie. — That was a mighty fine letter you wrote me and I hope
you received your answer before this. Alan Forrest has the lead
opposite Priscilla Dean in "The Siren of Seville." Stuart Holmes
also in the cast.

Rosebud. — I dont know why, but more than fifteen hundred girls
in Germany are studying for the medical profession. Conrad
Nagel is with Goldwyn and Glenn Hunter is playing in "Merton
of the Movies." Always send twenty-five cents when asking for a
picture.

Tootsie. — Why, Joan of Arc was born in Domremy, in 1412, and
by the victories she gained in battle, enabled Charles to be crowned
at Rheims. She was captured in 1430 by the Burgundians who
delivered her to the English, and after a mock trial, she was burned
at the stake in 1431. George Bernhard Shaw's stage play "Joan,"
which is running in New York at this writing, is the story of
Joan of Arc. Alice Terry has red hair, but she wears various wigs.

Elaine H. — So you have never been in love. That will come.
Voltaire says, "Love is of all the passions the strongest, for it
attacks simultaneously the head, the heart, and the senses." Bert
Lytell is five feet ten and a half, born in 1885, and he is now
playing in "Born Rich." His address is given elsewhere.

R. W S. — After completing "Monsieur Beaucaire,"
Rodolph Valentino will play in Rex Beach's "A
Sainted Devil," his second and last production for
Famous Players-Lasky since his return to pic-
tures. After this he will start work -with
Ritz-Carleton Productions. Mabel Noi -
mand at the Mack Sennett Studios, 1712
Glendale Boulevard, Los Angeles, Cali-
fornia.

(Contiuued on page 92)

™°™ N ™P

. -

The young bride waved
her handkerchief as the
car drew away from the
host of well-wishing
friends.

''Stop waving, dar-
ling, " said the happiest
man in the world. "I
want to look at you —
you never seemed so beau-
tiful as you do right
now!"

Did Nature fail to put

roses in your cheeks?

By MME. JE ANNETTE

THE first time a girl looks into her
mirror with the conscious desire to
see what nature has done for her skin,
she is aware of her coloring! If there
are roses in your cheeks there is added
charm to the reflection. If you have
no color, you will wisely decide to
put it there !

Rouge, properly used, is recognized
today as one of the important essen-
tials to the toilette.

When you select your rouge

Pompeian Bloom is a pure, harmless
rouge that beautifies with its remark-
ably natural tone ofcolor.lt comes in
compact form, and is made in the four
shades essential to the various types
of American women.

It is as important to select the right
tone of rouge as it is to select the
right shade of powder.

The following general directions
will be of assistance :

The medium tone of Pompeian
Bloom can, and should, be used by
the majority of women in America.
This is a lovely natural rose shade
most frequently found in the skin of
women who are not extreme types.
Generally used with Naturelle shade
of Pompeian Beauty Powder.

The light tone of Pompeian Bloom

is the clear, definite pink found most
frequently in the coloring of very
fair-haired women. This tone of rouge
may go with the Naturelle, the Flesh,
and occasionally with the White
Pompeian Beauty Powder.

The dark tone of Pompeian Bloom
is for the warm, dark skin typical of
the beauties of Spain or Italy. It is
most often effective with the Rachel
shade of Pompeian Beauty Powder,
also with Naturelle shade.

The orange tint gives exactly the
coloring essential to women who
have red or bronze tones in their hair,
for most frequently these tones are
repeated in the skin. This rouge has
been used almost exclusively by
women if they live much out-of-doors.

It combines with Naturelle
Pompeian Beauty Powder, but also
looks well with Rachel when the skin
is olive in tone, and with White
Pompeian Beauty Powder if the skin
is very white.

Note — Do not try bizarre effects
with your rouge. Make it look natural,
use it discreetly, and use too little
rather than too much.

V
"Don't Envy Beauty — Use Pompeian"

BLOOM (.the rouge) 60c per box

III Canada 65c

Get 1924 Pompeian Panel and Four Samples for Ten Cents

The newest Pompeian art panel, "Honeymooning in the Alps," done in
pastel by a famous artist and reproduced in rich colors. Size 28x7*2 in.
For 10 cents we will send you all of these: The 1924 Beauty Panel and
samples or Day Cream, Beauty Powder, Bloom(rouge), and Night Cream.

POMPEIAN LABORATORIES, CLEVELAND, OHIO
Also Made in Canada

(a rouge)

SS3SSS3SS3KKEK:^SEQa2£rSaE@g32S5S2S£g3;

You Needn't Fear
the Summer Sun

It is a very unwise woman who
actually courts the rays of the mid-
summer sun, for it has a searing
effect that may prove seriously in-
jurious to her skin. But, with care,
you should be able to get out-of-
doors all you want to without
sacrificing the loveliness of your
complexion.

The enemies of the skin that are
active at this time are — the direct
rays of the sun between the hours
of 10 a. m. and 4 p. m., and the re-
flected ta.ys of sunlight from water.
These rays seem to concentrate all
the scorching power of the sum-
mer sun and visit its heat unspar-
ingly; then, the wind is hot and
drying — even if it is an apparently
calm day, dry air will be rushed
over your skin when you are
riding. And all these things tend
to dry — yes, to shrivel your skin.

A panacea for these summer
dangers is the generous and con-
sistent use of Pompeian Night
Cream. The minute you come into
the house, if your skin feels the
least bit scorched, you should use
Pompeian Night Cream. Apply it
over the sunburned or wind-
burned parts — its cool, white soft-
ness will be as soothing as fresh
water to a parched throat.
Pompeian Night Cream contains
oils that are healing and softening
to a burned skin. If the burn is
severe it is well to lay clean strips
of gauze or cotton covered with
Pompeian Night Cream over the
burned parts till much of the feel-
ing of heat has disappeared. Al-
ways keep your jar of Pompeian
Night Cream in a convenient place.

All during the summer your
Pompeian Night Cream will be
"the best friend of your skin" if
you will use it for cleansing, soft-
ening, healing. And, for a dry skin,
it is the best possible powder base.

Specialiste en Beaut e

C 1924. The Pompeuw Co

-kv

TEAR OFF, SIGN, AND SEND

POMPEIAN LABORATORIES

2129 Payne Avenue, Cleveland, Ohio

Gentlemen: I enclose 10c (dime preferred^ for

1924 Pompeian Art Panel, "Honeymooning in the

Alps," and the four samples named in offer.

Name

Address
City

What shade efface powder wanted?

PAG

dfi

^MOTION PICTURF
e)l I MAGAZINE *-

"I Can Teach You
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— Sergei Marinoff
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Do this for sunburn .

Don't spoil a good time/

After a lazy hour on the beach, a
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round of golf, splash the burned skin
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tan as a reminder of the day's sport.

Absorbine, Jr. is not greasy. It does
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quickly disappears. It may be used on
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And for those troublesome insect bites
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At all druggists', $1.25, or postpaid
Liberal trial bottle, 10c, postpaid

W. F YOUNG, Inc.

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Other timely uses:
Cuts Insect bites

Strains Tired feet
Bruises Stiffness

Our Reporter's Notebook

{Continued from page 74)

water?" Which reminds us of the sagacity
of a youngster we heard talking to her
father on top of a Fifth Avenue bus. Her
father was pointing out to her the hand-
some plate-glass windows along the
Avenue. Coming to a particularly large
one, he told her she would not see such
a glass as that any place else in the world.
"Why not, father," said the imperious
little lass, "you just have to pour water
in and do whatever you have to do to
make glass !" Father was speechless.
There will be several child characters in
the film and perhaps an adult know-it-all.

A Ray of Hope — that's what we see in
Charles Ray as "Smith," to be produced
on the Ince lot. It was Thomas H. Ince
who first started Mr. Ray on the road to
fame as the country lad, and it looks as
if he would soon get him back into his
winning paces. Bessie Love, appealing as
ever, will play opposite Mr. Ray in the
role of a music-hall girl. Wallace Beery
and Virginia Brown Faire will be in the
cast also. The story is by Gardiner
Sullivan.

An honest confession — Orville Caldwell,
who has been in one stage success after an-
other, under the direction of Morris Gest,
the latest "The Miracle," says that of the
two arts he prefers the silent drama — he is
about the only actor who does. We take
it he speaks the truth since, while he is
playing in "The Miracle," he arises in the
wee hours of the morning and beats it over
to the Fox Studios to take the lead in
"Crossed Wires," opposite Alyce Mills.
"The more I work the more energy I
have," he says, and screen work with its
regular hours appeals to me. Of such is
the species tagged The Idle Matinee Idol.

Moving in circles like a dog chasing his
tail — that's the way Ronald Colman
reached his goal of stardom on the silver-
sheet. He left stage work in England, his
native land, in the hope of getting film
work here. But for a long time he found
himself out of a job. Finally he was en-
gaged to play opposite Fay Bainter in the
stage version of "East Is West" — stage
work again, but it took him out to the

Allow us to decipher the Chinese poster which Mary Astor
holds in the photograph below. . . . (However, if you'd pre-
fer to decipher it yourself, read no further.) The inverted "Y"
on the character she points to represents a roof — hence, a
house. The rest indicates a great multitude in the house. The
character above is a sacred building, hence a cathedral. Be-
low the house-sign is a symbol for a deformed man. The
whole conveys the idea that "The Hunchback of Notre Dame"
brings crowded houses to the theater owners. As for the
equally confusing characters on the right, they explain that
this picture is to be seen in such and such a theater

'*3v

„„-,0T10N pictur;

id! I MAGAZINE

Coast, and eventually brought him under
the Kleig with Lillian Gish in "The White
Sister." Contrary to his desires again,
this took him back overseas, and he had no
sooner finished that film and got back
to America than he had to turn around
and go back to Italy for' his role with Miss
Gish in "Romola." Now he's engaged for
a part in "Tarnish," and is at last on the
Coast for keeps, he hopes.

Viola Dana is playing the coveted role
of Sally "Flips," the Montague girl, in
"Merton of the Movies," with Glenn Hunter
in his undisputed part of Merton. This
will be the first production in which Miss
Dana is starred under her new contract
with Paramount covering several years.
The glad word is that James Cruze will
direct it. On the completion of "Merton
of the Movies," Miss Dana will play the
lead in "Open All Night," a film which
has been adapted from stories by Paul
Morand. It will be directed by Paul Bern,
his first attempt. in this field.

' "Her Marriage Vow" has been landed
by Warner Brothers. It is an Owen Davis
play. The cast includes : Mae Busch,
Willard Louis, Monte Blue, and other
prominent actors.

"Can the leopard change his spots?" A
fortnight ago, a Detroit exhibitor recog-
nized his former secretary "extra-ing" as
a typist on Victor Schertzinger's set for
"Bread." He wrung the confession from
her that she had resigned from his service
to go to Hollywood and enter the movies,
but that she had worked only three times
and each time as a typist and stenographer !
According to the rules of the story with a
moral, she should have gone back home
with him a chastened and hungry little
runaway but film history doesn't say that
she did.

It's stories like the film career of Mimi
Palmeri that keeps the film-struck girl
hanging on. Five years ago, Miss Palmeri
was studying music at the Damrosch Con-
servatory. To help out expenses she be-
came a model at part time and soon had
won popularity in that line, and her picture
appeared in various fashion magazines.
Thru them, she was discovered by Mrs.
Arthur Friend, wife of the then President
of Distinctive Pictures. She was so un-
conscious of her possibilities that when she
received a note from Mr. Friend asking
her to call she ignored it. When, how-
ever, someone told her what an important
man Mr. Friend was, she rushed up to the
Inspiration offices and was given the lead
in "The Ragged Edge." She appeared
next in "Second Youth," and now is about
to go abroad to film "It Is the Law."

Zane Grey pictures will be released
simultaneously with the publication of his
novels hereafter, so admirers of the
novelist can be perfect gourmands in the
future. Paramount itself has set the
fashion of taking Mr. Grey at one gulp,
part and parcel — the company has put thru
a contract by which they secure all of
Mr. Grey's future works. The only string
to the productions apparently is that the
stories must be filmed in their original
location and tho this may not be comfort-
able for the actors it's going to be mighty
pleasant for the fans. Mr. Grey's works
already produced under this same proviso
include : "To the Last Man," "The Call
of the Canyon," "The Heritage of the
Desert," and lastly, "Wanderer of the
Wasteland."

(Continued on page 104)

Would You Like

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Millions are now brushing teeth in a
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Film mars beauty

That viscous film you feel on teeth
is what makes teeth unsightly. Much
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Soon that film discolors,
then forms dingy coats. That
is why teeth lose luster.

Film also holds food sub-
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Hardly one in fifty es-
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Protect the
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Pepsodent dis-
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Never use a
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Dental science has now found better
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A new-type tooth paste was cre-
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The added effects

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Mail 10-Day Tube of Pepsodent to

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PAG

^MOTION PICTURF
01 I MAGAZINE L

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On tke Camera Coast

(Continued from page 69)

that Estelle Taylor couldn't swim a stroke.
The picture calls for a scene in which she
is thrown into the water by an explosion
of a motorboat. She mermaids around,
picking up the hero from the water ; puts
him on a raft and tows the raft in to
shore. Some stunt for a lady who does
not know how to swim. Miss Taylor em-
ployed Duke Kahanamoku, the famous
Hawaiian swimming champion, but she
finally despaired of learning, and De Mille
gave her role to Vera Reynolds, who
thereby starts on the path of glory.

Little Mary Pickford, if she escapes
alive from the London crowds, is to be-
come a hotel proprietor. It seems that she
is furnishing most of the money for the
establishing of a hotel in Hollywood like
the Algonquin in New York.

The finest compliment that has been
paid to any girl in Hollywood was when
the studio electricians asked Irene Rich
to preside over their grand ball. Nothing
bogus in the way of movie stars ever gets
past these boys, who call themselves the
"juice gang." Miss Rich says she is
going to show them that she realizes how
greatly she has been honored by buying
the finest gown she has ever worn in her
whole life. She has passed the acid test.
Personally I would never have any ' use
for any star, however charming she might
appear, if the electricians didn't like her.
They know.

Which brings us to one of the adored
of all stage gangs : Viola Dana. Viola's
determination to be a freelance, with no
more contracts, didn't last long. Famous
Players-Lasky grabbed her and got her
signature before she was fairly out of the
Metro Studio. She is appearing with
Glenn Hunter in "Merton of the Movies."
She is also to play the lead in "Open All
Night," the first picture to be directed by
Paul Bern. In this latter picture will also
be Jetta Goudal, the newly arrived French
actress, and Adolphe Menjou.

Elinor Glyn has confided to a friend an
alarming discovery. She says that she

has found the secret of her magnetism.
She always makes a point of sleeping
north and south, to get in line with the
poles and she has discovered that when
she lies down in a room with a compass
that the compass point will gradually
swing around to point to herself instead
of to the North Pole. Presumably when
Madam Glyn romps around the room, the
compasses gets dizzy trying to follow her.
Well, anyhow, it seems that the tiger skin
hadn't anything to do with the case after
all.

The little Arab boy whom Rex Ingram
adopted in Tunis is living contentedly in
Hollywood with Mrs. Ingram (Alice
Terry). He remains a devout Moham-
medan, however, refusing to wear a hat
and clinging to his turban. He is almost
frantically devoted to Rex. Eventually
they expect to take him back to Africa,
where Rex has bought a house.

Charlie Ray is bravely starting his pro-
fessional life over again in the Ince Studio
where his fame was originally made.
Crushed financially by the failure of "The
Courtship of Miles Standish," Ray has
taken the blow with philosophy. He says
he has discovered that it is useless for any
one who has been selling houses to try
to sell automobiles to the public. They
will have nothing from him but shy-boy
comedies. He attributes much of the
failure of "Miles Standish" to the fact
that he took too much advice from the
numerous amateur experts descended from
the Mayflower.

Bill Hart, another Ince graduate, has
come back to virtual retirement. His con-
tract with Famous Players-Lasky has
fallen thru because that corporation will
not yield to Bill's demand to be allowed to
select his own stories.

The most sensational come-back in the
history of Hollywood is that of Betty
Compson. It looked as tho she were thru,
as a star, when she burst upon the public
with "The Stranger" and "The Enemy
(Continued on page 89)

Even in the summertime, California evenings know a chill. And
in preparation for a blazing fireplace, George Hackathorn, a
week-end guest at the Stedman home, gave Lincoln a hand, while
Myrtle, after the way of women, stood by and told them
how to do it

The Rarest of Sensations

(Continued from page 25)

He is not easy to know. Complex of
nature, aloof and solitary by instinct, he
brings to mind the words of Michelangelo,
"I have no friend of any kind and do not
want any." For all his ebullient wit and
his charm as a companion, once friendship
has been established, he still is not the
sort you would designate as "a great guy
on a party."

Primarily a musician, he has that de-
tachment from the visible world that has
marked the great musicians. Not a
"dreamer," yet living intensely in an inner
vision.

He once said to me, "I dont believe I
ever live in the present — I'm always
planning, planning, planning." He not
only plans, he works, doggedly, systemati-
cally, ruthlessly.

Music is his earthly god. A celebrated
teacher of voice in New York declares he
can appear with the Metropolitan Opera
within five years if he chooses. Already
he has mastered the role of Atheneal in
"Thais," his favorite opera. But his in-
clination is toward concert. He is am-
bitious to present the works of Mexican
composers, little known to this country,
and to that end has prepared a program
of their music. His music library, to
which he is continually adding, contains
the best compositions of English, French,
Spanish and Italian. He speaks and reads
all four languages.

I have known a great many artists but
none with such unfaltering faith in his
talents or such tenacity of will as Ramon
Novarro. He has the ego necessitous to
the artist, a ruthless ego, yet, by the same
token, he is so free from all personal
vanity as to appear humble. The artist
who declared that he has the physique of
Michelangelo's David and the face of an
El Greco Don receives his polite smile, but
the critic who heralds him an artist earns
his humble gratitude.

He is singularly appreciative, yet with a
shrewd discrimination. His confidence is
not easy to win. In the Spanish character
I have found a marked strain of suspicion ;
I have also found a marked degree of
loyalty. Novarro's perspective upon him-
self is notable thus far for its clarity.
What the sycophantry of movie hero-
worship may do to him, I cannot predict —
I've predicted in other cases and failed
miserably ; I do know that in long associa-
tion with him he has shown an astounding
strength of character, a steadfastness to
ideal that has not in the least been shaken.
There has been much in life to
strengthen character. As one in a family
of fourteen, where there was little pamper-
ing of affection, he learned self-reliancy.
His family, once wealthy, suffered reverses
and he was compelled to earn his own way
from the age of seventeen. While strug-
gling for a chance on the stage in New
York, he earned but two dollars and a half
a week, a percentage of which he always
sent home. With his first salary from
Ingram he assumed complete responsibility
for that family and sent one brother off to
the University of California.

The individual is uncompromising. You
are either for him or against him. Im-
partiality is impossible. And Novarro is
distinctly an individual. His success on
the screen or in any other art must be
based on his ability as an artist. Those
who know him and have read "The
Romance of Leonardo da Vinci," by
Merejkowski, have been struck by his
likeness to Raphael. I have heard Rex In-
gram exclaim, "What a Raphael Ramon
would make!" Raphael, "the stranger

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from Urbino, the dreamy youth with the
face of a sinless angel," who had managed
his mundane affairs to the best advantage,
the "fortunate boy" who had acquired
wealth and fame as if by play, disarmed
his worst enemies by kindliness and re-
ceived the gifts of Fortune as tho they
had dropped unsought into his hands — and
yet always had remained unspoiled by the
glittering baubles showered upon him by
Fortune.

In the nature of Novarro you also find
this combination of shrewdness and
idealism. Not a business man, but wise
enough to realize the force of commer-
cialism, just as Raphael realized the power
of patronage, and to convert it to his pur-
pose ; judicious enough to learn practicality
by advice and observation for the sake of
his objective.

Naivete sometimes masks great acumen ;
spirituality is not incompatible with worldly
wisdom. Every Madonna I saw in the
galleries of Italy looked exactly like
Lillian Gish — but so did Lucrezia Borgia.
Whenever we encounter genius we ex-
claim that it is "child-like." It was said
of Mendelssohn that he was frank, trans-
parent, honorable, noble, with a sunny, en-
thusiastic, alert nature. Perhaps only the
genius dares to be as direct and active of
impulse as the child, free from all pose,
all self -consciousness.

Novarro may not be a genius but he has
these characteristics. He is immune from
all temperamental manifestations. He is
usually equable of mood, almost a stoic in
philosophy for all his orthodox religious
feeling. Not long ago he gave me "The
Meditations of Marcus Aurelius" in-
scribed, "This is the book that I wrote in
one of my past incarnations — I dare you
to make me out a liar." The egotism
challenged me, but I didn't take the dare.
Knowing Ramon as thoroly as I do Marcus
Aurelius, I am not in a position to say
which is the plagiarist; their philosophies
are parallel.

So, instead of accepting the challenge, I
gave him Merejkowski's book on da
Vinci, because the final lines seemed to me
singularly appropriate of Novarro :
"Thou art thyself thy god, thyself thy
neighbor ;

Oh, be as zvell thine own creator too;

Be the abyss above, the depth below;

At once thine oivn end, and thine own
beginning."

My Story

{Continued from page 28)

All the extra girls did that, in New York.
I posed for a Prudential Life Insurance
calendar, among other things, suit and
millinery ads for department stores,
magazine covers and whatever came my
way.

The life of an extra girl is a hard one,
particularly, if she is sensitive. Some-
times, today, when I drive up to the studio
and see those lines of beautiful young-
girls, waiting patiently for a day's work,
I could go to my dressing-room and cry,
for them. It is so hard, so discouraging !
Those inside seem to have so little
sympathy for the strugglers, the beginners.

I remember, one day, I was doing extra
work in an Alice Brady picture. A re-
ception was supposedly going on. I stood
on a stairway, and at the director's word,
I descended the stairs and joined a group
around the piano. I thought I was obey-
ing the director's orders, but just as I
reached the piano he shouted at me.

"Hey, you, where were you raised? In
a barn?"

I had passed between two of the
principals, quite innocently, not knowing
that they were supposed to be engaged in
conversation. I suffered for weeks from
the humiliation of his words.

It was thru an odd twist of Fate that
I became the leading woman of the Para-
mount Black Diamond comedy company

that winter. I was finding extra work
very hard, and thought I might like
vaudeville. An acquaintance directed me
to the United Booking Offices. Thru some
mistake I entered the Palace Theatre
building, instead, and found myself in the
offices of this film-comedy company. They
wanted a leading woman who would go to
Jacksonville, Florida, and I more than re-
joiced at the opportunity.

So I became a slap-stick comedienne !
We worked at the old Kalem studios in
Jacksonville for six months — how I re-
joiced to get away from the sleet and
snow, now that it was no longer a novelty
to me — and then went to Wilkesbarre,
Pennsylvania, where we continued to turn
out a comedy every other week.'

Here father visited mother and me. He
seemed but a shadow of himself, but he
was the same sweet, kindly spirit that he
had always been. Not long after that he
passed away.

It seems that troubles, indeed, never
come singly. My brother at this time was
desperately ill in an army hospital in Wash-
ington, D. C. Mother felt that she must
be near him. I faced the problem of
struggling along with an obscure comedy
company, going back to New York to en-
gage in extra work again, or coming to
Hollywood.

This last seemed the most practical

The darkest hour of my life was when Doris May, under
contract with them, finished another picture in time to get
the role opposite Charles Ray which I had been selected
for. It would have been my first leading role, and losing
it was the bitterest disappointment I have ever faced.
(Below) Miss Joy as the casting directors of Hollywood
knew her a few years ago

Photograph by
Evans, L. A.

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course to follow, inasmuch as film pro-
duction is centered in Hollywood, so in
the fall of 1919 I came to the Coast, de-
termined that my extra days were over.
I would play parts or leads only, in future,
for when one once becomes known as an
extra, it is hard to get out of the ranks.

After renting a room with a family in
Vine Street, I went immediately to a film-
casting agency. The agent asked me my
film experience. As he seemed never to
have heard of the Black Diamond comedy
company, I told him that I had worked in
a good many well-known productions, also,
naming the ones in which I had done extra
work. To my consternation he promptly
sent for these pictures and had them run
for him, in this way discovering my ruse.
However, he encouraged me not to con-
tinue as an extra girl.

I needed all the encouragement I could
get in the months that followed, for all the
film companies seemed to be able to get
along very well without me. I called
regularly upon the casting director at the
Famous Players-Lasky studio (where I am
now under contract), but was never given
a part, at that time.

My first screen work on the Coast was
with William Farnum, in a Fox picture.
I then worked with Warren Kerrigan in
"A Dollar Bid," and it was while we were
making this picture that I met Jack Gil-
bert, who is now my husband. At that
time he up-staged me terribly, I remember.

The ambition of every girl who is
struggling to make her name known to
the motion picture directors in Hollywood,
is to be cast in a leading role opposite some
prominent male star. This is a certain step
upward from obscurity, if she can acquit
herself creditably in the role given her.
When, presently, I secured a lead opposite
Charles Ray 3 at the height of his pop-
ularity as an Ince star, I felt that fate
was surely smiling upon me.

I studied my part earnestly, determined
to make my work stand out. I spent days
getting my wardrobe ready. On the day
that I went to the studio to sign my con-
tract, just before starting work, I wrote

a long, enthusiastic letter to mother, telling
her that at last I was on the way to Fame.
I was to play opposite Charles Ray!

Fortunately I did not mail the letter.
When I arrived at the studio, the man at
the casting window said, "Sorry, Miss Joy,
but Doris May finished a picture last night,
and as she is under contract, she has been
given that role with Mr. Ray."

That was the darkest hour of my life,
the bitterest disappointment I have ever
been called upon to face.

My screen career not progressing so
rapidly as I had hoped, I accepted an en-
gagement with the Virginia Brissac stock
company in San Diego. I had never been
on the stage in my life, and I wonder now
that I dared to pose as an actress of ex-
perience, but I carried it off luckily, and
played ingenue leads in eight or nine plays,
with this company.

It was while I was in San Diego that I
received a wire from my agent, telling me
that I was being considered by George
Loane Tucker for a part in "Ladies Must
Live." I hurried to Los Angeles to see
Mr. Tucker, and gave up my work with
the stock company when he cast me in this
picture.

This really proved the turning point in
my career. I appeared in "The Right of
Way" with Bert Lytell, and felt that I
really was gaining a foothold in Holly-
wood, at last. Later I worked with the
Goldwyn company, playing leads in five
pictures for them, and then — my big
chance, "Saturday Night," the Famous
Players-Lasky picture in which I worked
for the first time under the direction of
Cecil B. De Mille.

I have been with the Famous Players-
Lasky company ever since that time, and
recently signed a starring contract with
them. My first picture under this con-
tract, "Roles," has just been completed.

My mother and brother now live in
Hollywood, and we, with my husband, plan
to take a trip to New Orleans some time
soon. I've never been back since I left
there, six years ago. Now that there is
no danger of my going to it a "poor rela-
tion," I shall be glad to see La Visa, again.

Vignettes of the Studios

(Continued from page 44)

seem to have no place here. The atmos-
phere is hushed.

A half-dozen bathing girls, in trim street
frocks and hats, troop thru the gateway to
the street below. Their giggling and
chatter strike across the quiet.

Mack Sennett is telling you that his
studio is fourteen years old. What an age
— in Celluloidia !

His hair is white, you note, but his eyes
are not old, and his enthusiasm is that of
youth.

Youth and Age on the Sennett lot. And
ghosts. In the circle of these hills Charlie
Chaplin first faced a motion picture
camera. Gloria Swanson, an obscure bath-
ing girl, walked thru this gateway. So
did Betty Compson.

Picturesque, shabby, delightful, historic
Mack Sennett's. May they never tear it
down !

Tkat's Out

(Continued from page 52)

town with the screen profession. How-
ever, it suited the newspaper's sensational
purpose to haul in the poor old movies
. . and it is this sort of thing which
brands the profession that has already
had more than its just share of unpleasant
and highly colored and exaggerated pub-
licity.

We dont know what can actually be
done about it. However, the least we can
do is to call instances of this nature to the
attention of our readers.

The poor old movies ... a bad reputa-
tion is a hard thing to drop by the roadside.

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Hope led Orkney to the parlor at the other end of the house.
She locked the door behind her against her prying aunt

The Girl Who Couldn't Be Bad

(Continued from page 49)

the innocent Hope was the devil himself.
Hope led Orkney to the parlor at the other
end of the house, taking care to close all
doors behind her and lock them so that
they would not be bothered by her prying
aunt.

Orkney smiled and went back himself to
see that they were surely alone. Then he
returned again, locking the doors behind
him and putting the keys into his pocket.

While out in the Convention of Right-
eous Causes — hundreds of miles away —
there is a spirited debate going on in one
of the Committee Rooms, Ezekiel Brown

is on the side which stands for offering
all the prayers of today's great meeting
gratuitously in behalf of the vodka-ridden
ex-mojiks of Siberia. His party lost their
motion, however, and it was resolved
rather that the prayers be offered in behalf
of the desecrated women of Siam.

Meanwhile in his own home both ques-
tions were being ruthlessly neglected — his
only son lying in a stupor in the stable,
his sister partly reclining in the kitchen
sink and his precious daughter hovering
on the edge of a moral precipice.
(To be continued next month)

J-TOW would you like to request Agnes Ayres to have
your roof repaired — or consult Cecil B. De Mille
about your plumbing? This might very easily be the
case if you were a resident of Los Angeles. Motion
picture people have invested large shares of their

savings in real estate And Harry Carr's article

about the stars in their role of realtors, which will

appear in the September Motion Picture Magazine,

is extremely entertaining and generously illustrated.

You will want to read it.

OTION PICTURR

MAGAZINE j\

On tke Camera Coast

(Continued from page 82)

Sex." Her improvement as an actress
was so remarkable in the latter play that
Lasky has signed her as a star again. She
is now to make '"The Female," under the
direction of Sam Wood.

Dimitri Buchowetzki thinks he has
found another Wally Reid in Ben Lyon,
who is appearing with Pola Negri in the
film version of Sudermann's "Song of
Songs." The Russian director believes
that Lyon will be the leading actor of the
screen within two years.

There seems to be no prospect of Mabel
Normand's returning to the screen. Mack
Sennett has not renewed her contract.
Mabel is too unlucky in the matter of
newspaper sensations.

James Kirkwood is to play the lead
opposite Mae Murray in the Blasco
Ibaiiez play, "Circe."

Victor Seastrom, admittedly the most
difficult director in Hollywood to please,
with stories, has abandoned "The Tree in
the Garden," after all, and will make a
picture out of "He Who Gets Slapped."
with Lon Chaney playing the principal role.

The fight between the Merrimac and the
Monitor will be shown, when Ince films
"Barbara Frietchie," with Florence Yidor.

Sam Goldwyn, who said there were only
thirty-three good actors, has modified his
report ; he says there are only forty-two ;
he has just seen another picture.

Ronald Colman, who played opposite
Lillian Gish in "The White Sister," has
come to Hollywood to play opposite May
McAvoy in "Tarnish."

When "Bread" is filmed at Metro, Mae
Busch and Robert Frazer will play the
leads.

She caught her breath . . thrilled through and
through by his bold look of admiration as she
poised her beautiful body for the next back-
ward plunge.

Galatea, by Marqneata after
tho myth of Pygmalion and tba
statue, said by the Greeks to
have come to Ufa because of
PyemaiioD' a great lore of her.

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The Incubator of Genius

(Continued from page 38)

dash in; take it in one gulp; upset a chair
and dash out again.

The directors simply couldn't force this
little cockney actor to do it. He wanted
to come in ; take a sideways squint at the
Klass of water; take off his hat politely;
give it a startled look over his shoulder ;
smell it, taste it ; gargle it and sip it,
looking with big eyes over the edge of the
cup.

They swore at him ; abused him and in-
sulted him but they couldn't make him do
it according to Hoyle. Finally, an ex-
asperated director glaring like an angry
bull, led Chaplin to Sennett for discipline.

Mack chewed the end off a cigar; looked
the trembling cockney over ; then he said
slowly : "All right ; let him try it his
way and see what he will do."

And while they all stood there watching,
Chaplin did it his way.

And in that instant, the whole technique
of screen comedy was changed forever.

Altho he was responsible for her train-
ing, Sennett did not exactly discover Mabel
Normand.' D. W. Griffith did that. She
and Sennett were working together in the
old Biograph pictures and left that com-
pany to go into the old Keystone com-
pany together. Sennett said that Mabel
always had a marvelous sense of humor
but she had a hard time learning the
technique of screen acting. Her natural
impulsiveness made her move too fast. It
was in taming down the fiery Mabel that
Sennett learned what has ever after been

known as "tempo" on the screen. It is
this marvelous knowledge of timing that
forms the basis of the training that has
given all these big stars to the movies.

Ray Griffith was a young stage actor
who had lost his voice when he came onto
the Sennett lot as an extra. Mack told
me he knew the boy would be a great
actor one day because of his humor which
kept him from taking himself too seriously.

"The idea that great actors go thru
some sort of a process of leaping out of
their own personalities and into the cosmic
skin of somebody else — 'letting themselves
go' — is all bunk," said Sennett. "You might
as well say that a good writer runs amuck
with a typewriter and does not know what
his words are doing. The really good
actors are like Ray Griffith who convey
ideas in a definite way and by a definite
intent and who do not take it too seriously.
Ray was smart and clever. For a long
time he was off the screen altogether work-
ing as the head of my scenario department.
He had the best idea of dramatic values
of anyone I ever knew."

And so, Louise Fazenda, Marie Prevost
and the others came onto the lot; fell into
the water ; were butted by goats and
chased by bears and shot in the gluteus
maximus muscles and became finished
artists.

Mack says he is not sure about the new
crop. Only two of them.

"Fashions in bathing girls change," re-
flected Sennett as we stood watching them

Harry Langdon's bungalow dressing-room housed many of

the now famous and then obscure ones Chaplin's,

Gloria Swanson's, Charlie Murray's and Betty Compson's
names have been painted on the door

jump squealing into the bathing pool. "In
the old days, they were distinguished by
curves. Now they are like tall, slender
flowers.

"This is the one," he said, indicating a
little angel child with big pitiful eyes and
a little round appealing face. "That is the
one who- 'has it.' She is going to be a big
star. Her name is Alice Day."

. Just at that moment, two very large and
disturbing tears were running down the
little girl's face.

She had been acting in a pirate picture
with a false mustache and a sailor suit.
Somebody had sat her down with a most
emphatic bump. Kala Pasha had bumped
her head against the head of another pirate.
They told Kala to be as gentle as possible.
So he only whacked the two skulls to-
gether with a crack like two goats coming
together. Ordinarily, but for the word of
caution, it would have been like a crash
between colliding street-cars.

And so while they were changing the
lights, the little girl was standing by the
side of a piece of scenery ruefully rubbing
the seat of her sailor pants and weeping
over her art.

I asked how she liked it and she said,
sniffling, "I guess it'll be all right after
my head gets used to it."

"Well," said Mack, when I told him
about it, "the human head will stand a
lot of whacking with benefit. She will
find out that acting is not all standing
under a glow of lights with her eyes turned
up to heaven in gentle appeal. She is
learning some of the rough fundamentals
that will be of benefit to her hereafter."

The other genius that Sennett has lighted
upon is Harry Langdon. Langdon was a
bell-boy in Kansas City and developed a
facility for cartoon drawing that somehow
or other brought him to the attention of
some newspaper folks. Eventually thru
them, he got a chance to go into vaudeville.

Just as in the case of Charlie Chaplin,
Sennett plucked him off a vaudeville
circuit.

Sennett says he is the funniest comedian
— next to Chaplin — that has ever been in-
side his studio. Langdon has a busy, earnest
almost pathetic little way of trying to make
aeroplanes out of his mother's sewing-
machines, etc.

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MAGAZINE I-

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The Answer Man

(Continued from page 78)

Mr. Smith. — How are the whiskers?
Send a stamped addressed envelope for a
list of producing companies. Yes, indeed,
have your scenarios typewritten.

A Bob. — Another one? Robert Agnew
in "Womanproof." Yes, Grace Cunard is
coining back. She and Earle Foxe are
to have the leads in "The Last Man on
Earth," produced by Fox. John Gilbert
and Virginia Browne Faire have the leads
in "Romance Ranch," which was made
under the title of "Colorau."

Blues. — Last I heard of Charles Mack,
he was at the Griffith Studios, Mamaro-
neck, New York. He is married to Marion
Lovers. Well, you are not afraid to write
to me now, are you? David Powell and
Edith Allen head the cast of Vitagraph's
"Virtuous Liars," in which Naomi Child-
ers, Dagmar Godowsky and Maurice Flynn
are also cast.

Marjorie D. — And here you are. Ad-
dress Corinne Griffith at First National,
United Studios, 5341 Melrose Avenue, Los
Angeles, California. She was born in
1897, and is married to Walter Morosco.
Five feet four. I like her very much, in-
deed.

Irene C. — Helene Chadwick and Holmes
Herbert have the leads in Ethel M. Dell's
"Her Own Free Will," which is being
filmed by Hodkinson. Charles Jones in

"Vagabond Trails." He is about twenty-
nine, weighs one hundred and seventy-
three and is five feet eleven and three-
quarters. No, he was born in Vincennes,
Indiana, and he is married to a non-pro-
fessional. You're welcome.

Grace E. G. — So you would like to have
a picture of Marion Davies in the gallery.
She is with Cosmopolitan, you know.
Richard Bennett was playing in "The
Dancers" on the stage and now he will
make "Youth to Sell" for C. C. Burr.

Marja. — You bet I have my buttermilk
every day. So you like my silky beard.
It's pretty warm these days. Bebe Daniels,
yes. Mildred Davis is not playing in pic-
tures right now.

Nick. — Never heard of a book on the
life of Conway Tearle. Do you think he
ought to have one? We haven't inter-
viewed him for some time.

Deaf Kitty. — Going in for Greek
mythology. Psyche was the wife of
Cupid. The name signifies the soul or
spirit. Yes, Lon Chaney is married. J.
Warren Kerrigan is a bachelor and he
is thirty-six.

B. K. — Better send a stamped, addressed
envelope for the cast of "Way Down
East." It is too long to give here. Dorothy
Mackaill is with Fox.

(Continued on page 99)

The following caricature of Norma Talmadge and Eugene

O'Brien was made by WYNN after viewing them in the

nineteenth-century episode of the romantic "Secrets"

92
t?£

^MOTION PICTURT7

Mhel I MA6AZINE \\

Tke Movie Studio Drama

{Continued from page 39)

Front Door . . . Hide
The Key in the Mail Box
And hurry down the
Boulevard to see a show . . .
I'm hanged if I like to
Get there just in time for
Some such title as :

"Hollywood Boulevard

Dazzling Pathway of the
Movie Stars" . . .
Shortly followed by
Select Views of
My Own Yard
Front and Back. ...

I'm quite resigned to
Seeing my neighbors in
All sorts of roles. . . .
If the Boy Next Door
Goes by on his
Motorcycle made up as
Adam . . . closely followed
By his Grandmother in
Curls and Kiddie Rompers
I dont say a Word. . . .
But when it comes
To seeing my Porch
Rocker and my own
Garage co-starred in a
Heart Gripping Drama of
The Motion Picture Studios
I take the count !
The life's too wearing on
The Growing Girl. . . .

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The studios that

The Lawn

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"When I retire, I should like to manage a small group of
artists in whom I had belief. Maybe only one. Maybe
two. I wouldn't do it for money — rather because it would
interest me to put the beliefs my experience has brought
me into effect"

We Interview Mary

{Continued from page 22)

admiring the flowers. They are lovely.

(A. IV. F. is silent — not from loyalty —
rather from astonishment.)

Mary: Yesterday was my birthday.
Mother sent me those (indicating a tall
basket of American Beauties). Jack and
Marilyn sent those (nodding at the
trellised basket of old-fashioned flowers,
reminiscent of a sunny, quiet garden). The
others came from friends. You need
flowers in a hotel. They make it more
like home.

G. H. (still conscious of the early hour) :
Does your day always start so early?

Mary : Later than this sometimes when
we are here in New York. But home I
am always up at seven o'clock. So is
Douglas. But then, too, I go to bed early.
I must have nine hours' sleep. I am not
an Edison. Here entertainment and the
theater necessitate my nine hours extend-
ing into the morning.

A. W. F. (looking triumphantly at G.
H.) : Is there truth in the rumor that
you are going to produce "Rain" ?

Mary : No. I wish there was. It
wouldn't be fair to my company for me to
take the time away from my own produc-
tions to direct Miss Eagels in the story.

I'm not decided what I will do next. I
was going to make a picture in England.
Charlie Chaplin was to direct me. But
now Charlie tells me that he wants to
make two more pictures of his own — with
a rest in between. You know how long it

takes Charlie to make a picture. By the
time he was ready to give me his attention
I'd be so old I'd be fairly hobbling on the
screen.

Charlie is impractical. That's the genius
in him, I suppose. I'm afraid I'm not
really great. I'm too normal. I like to
have reasons for what I do. I like to have
facts in my mind, all correlated. Charlie
and Douglas aren't reasonable people, like
I am. They go off on tangents . . .
perfectly wild tangents.

Genius is comparable with abnormality.
It is the gift given to those who swing
somewhere in the balance between the sane
and the insane.

A. W. F. (getting on with the next
question) : How do you like Douglas'
"The Thief of Bagdad"?

Mary (her face illumined with that
rare sweetness which touches it more
especially when she speaks of Douglas) :
I love it. I am proud of it . . . and
of Douglas. I feel that in this picture he
has done something fine, created something
of real beauty. And it is proving to be
such a success, because of its beauty, I do
. believe.

G. H. (skeptically) : You think, then,
that people appreciate beauty?

Mary : Oh yes. Beauty is, or should
be, universal. Otherwise, to me, it is not
beauty. Perhaps there are some of us,
many of us, who do not appreciate the
splashes and lines which the Moderns tell

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us is "A Nude Descending the Stairs.''
But the beauty of flowers . . . the
beauty of this Spring ... the beauty
in a baby's face . . . that is universal.
It belongs to everyone.

A. W. F. (her mind on the movies) :
Tell us about "Dorothy Vernon of Haddon
Hall."

Mary (with an air of simplicity and
gravity) : I'm waiting for you to see it
so you may tell me about it.

However, I'm pleased with it. I think
it holds the best dramatic work I have
ever done . . . with the exception al-
ways of "Stella Maris." The role of
Dorothy suits me as so few dramatic roles
do. My height is a handicap when it
comes to drama, saving only the poignant
kind.

Clare Eames' Queen Elizabeth will de-
light you. She is splendid. She is lovely.
When we were cutting the picture, I hated
to cut any of her scenes, even to shorten
them.

(Consulting a clock.)

I wonder if you would drive with me to
my dentist. I have an appointment there
in fifteen minutes but I wont be any time.
You could wait for me in the car.

(G. H. and A. W. F. voice their willing-
ness, not to say eagerness. In a minute
Mary is back, ready for the street. Slie is
zvcaring a small black satin hat, zvith a
suggestion of black lace. Her coat is a
pale grey fur of the caracul family, with
grey fox collar and cuffs. And her cor-
sage is one of beautiful orchids.)

A. W. F. (her reporter's instincts
alert) : Birthday flowers, too?

Mary (nodding and pleased) : Douglas
gave them to me . . .

Aren't they a lovely, lovely color?

Scene III. — The grey interior of a Rolls
Royce. Zorro sits on the box with the chauffeur.
Mary and the interviewers sit inside. They
leave with many obsequious bows from the door-
man.

G. H. : You say you haven't any pro-
duction plans ahead?

Mary : No. I'm beginning to think
what I shall do when I retire from the
screen. After all I have enjoyed stardom
longer than it has been given to anyone
else to enjoy it. And my success has been
in a certain type of role. They do not
seem to want me in other things. I am
neither a Duse or a Bernhardt. I must
retire gracefully. I mustn't spoil these
years by an ugly gesture at the end, or
by overstaying my time.

A. W. F. : And when you do retire.
Will you produce?

Mary : I've often thought I should like
to manage a small group of artists in
whom I had belief. Maybe only one.
Maybe two. I wouldn't do it for money,
but so they might profit by my experience.
It would interest me to put the beliefs my
experience has given me into effect. First
of all I would suppress all personal
publicity. I would permit them to give
no interviews. I would do all the talking
there was to be done. It would have to do
strictly with their work, never with their
lives. Publicity has been a boomerang
where it has been excessive. I might name
numerous instances where it injured
popularity.

(She is quiet a moment, thinking. For
Mary Pickford weighs the things she says,
whether in personal conversation or when
she is talking for publication.)

I always say your liking for a person is
like hunger. You are hungry to see them
. . . to hear about them . . . to be
near them. And every appetite can be
satisfied. Satiety kills hunger.

(She laughs.)

That reminds me of Douglas and the
peanut brittle. He always was very fond

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of it. But one day he ate a large box of
it and he has never wanted to see it since
that day.

That may seem a silly little parallel.
But it is, after all, an example. I always
think of it when an instance of satiety is
mentioned.

{Here the dental office is reached and
Mary leaves the interviewers while she
goes in to keep her appointment.)

A. W. F. : Once more, for the hun-
dredth time, I am struck with the charm
of her simplicity.

G. H. : And her tolerance. She under-
stands human beings, not as they appear
under their motley masks, but as they are.

Isn't her hair glorious?

A. W. F. : ... when the sunlight is
upon it . . . molten gold.

Do you know, Gladys, I think her essen-
tial beauty springs from her mind. That
is why it has gone on longer than that of
others. That is why the public has not
tired of it. . . .

(Mary reappears in a few minutes and
consults her list of the day's activities.)

Mary :. At twelve I must be at the
United Artists for a directors' meeting.
Shall we drive about the park until then.

A. W. F. (as the car makes the curve
into the pale green Spring foliage of
Central Park) : How do you feel about
the writers of the motion picture pro-
fession who have turned about to brand the
people of the screen m the fiction they
write?

Mary (who has evidently given this
matter thought) : I think them con-
temptible. We all of us know that there
are people in motion pictures who have
been very foolish over the fame and wealth
that has so suddenly come to them.

But, after all, they are not the majority.
Nor are they any different from their
prototypes in other professions.

More than balancing these foolish peo-
ple, there are hundreds of hard-working
worthy people on the screen today. And
there have come to be great minds occupied
with the making of pictures. In our studio
alone, after all, a very small part of the

A new Buster Keaton in Shylock Jr.

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picture world, we have twenty-five uni-
versity men.

G. H. : People seem to resent the fact
that so many stars are self-made.

Mary : That's true . . . and curious.
America usually reveres the self-made
man. We boast of our self-made politicians,
magnates. They are our heroes. But
actors and actresses are condemned for the
same state of affairs. In them the virtue
of others becomes a vice. It may be be-
cause people think we cannot stand the
comparatively swift transitions from ob-
scurity to success which the screen fosters.
And the many are judged by the few.

No one regrets certain conditions which
exist in the motion picture world more
sincerely than I do. They are tho, when
all is said, the failings of men and women.
And they are the exceptions.

No one worth while could take wealth
and fame from a profession and play
traitor to it by flaying it, exaggerating
certain of its phases, maligning erstwhile
friends. There are enough people to say
unpleasant things without any of our own
turning against us. And besides, there are
so many amusing and interesting and hu-
man things they might tell without slander
and revilement.

I love pictures and I shall defend them
with my last breath, even tho I am no
longer of them.

(Promptly at twelve o'clock the car-
drives up before the entrance of the
United Artists' office building. As tho it
had been broadcasted that Mary zvas to
arrive, a large croicd collects as the car
stops.)

Mary : The car will take you wherever
you want to go. Good-bye. I do hope I
have been helpful and said something
which will make interesting copy.

G. H. : Thank you for your time and
for your interest.

A. W. F. : Good-bye and Bon Voyage.

(Mary alights and smilingly threads her
zvay thru the croit.'ds gathering about her.
She gives them a collective smile that has
something individual in it. It is as tho
she had unexpectedly met with a group
(Continued on page 103)

The old Buster Keaton in Shylock Jr.

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(Continued from page 61)

the handy man of a movie theater and its
operator. In his social life there is a girl
and a deadly rival — and when the latter
comes sneaking around to discredit our
hero by stealing the heroine's watch, pawn-
ing it, and putting the ticket in Buster's
pocket, the comedian takes a course in a
correspondence school and wins a detec-
tive's diploma.

The new gags ? They are finely spaced
and carry considerable laughter. Perhaps
the high spot is when Buster walks down
the aisle of the theater (during a dream)
and leaps into the screen where he dissolves
right into the action. His object is to
punish the villain played in the broad melo-
dramatic manner of the cartoon strip of
Desperate Desmond by Ward Crane.
Keaton has a lot up his sleeve here — and
it is one of his best efforts. Keaton, Jr.,
is not in the cast, but Buster's dad has a
part. You'll like it.

Men

After appearing under the direction of
Americans who have been unable to com-
prehend her Continental attitude or gage
her temperament in correct colors, Pola
Negri returns to foreign direction here —
and gives the best performance since

"Passion." Dmitri Buchowetzki, who
directed the Polish star in "Sappho," has
restored Negri's confidence in herself. She
acts with the emotional flair— the sweeping
abandon that marked her work in German
productions. As Buchowetzki wrote this
story as well as directed it, he knew just
how to proceed in bringing out its flavor
and projecting the Negri at her best.

The idea is trite, a trifle shop-worn, but
since it is more of a character study than
a subject of dramatic elements it affords
the star plentiful opportunity to employ the
various shadings of her art. She is gay,
reckless, morbid, depressed by turn — a
perfect exponent of temperament — and the
director, thru his understanding of her
capabilities, indulges her in all her whims.
She is a disillusioned woman, a victim of
lust. So she will make men pay and pay
and pay (yes the man pays here in rich
abundance) in her ambition to live a life
of luxury. Then comes the still small
voice of conscience accompanied by the
substantial voice of romance. Her com-
plexes against the crude sex are overcome
in her appreciation of honest love.

The director uses discretion and repres-
sion in handling his scenes, tho he allows
(Continued on page 100)

It is becoming more and more usual for authors and actors
to meet and discuss characterizations. We heartily endorse
this practice. More truthful and interesting portrayals are
bound to spring from such discussions. The photograph be-
low was taken when Booth Tarkington and Thomas Meighan
met to talk over the portrayal in Tarkington's "Whispering
Men," upon which Tommy was about to begin work

Photograph by Underwood & Underwood

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The Answer Man

{Continued from page 92)

D. S. B. — You should be guided by your
admiration rather than by your disgust.
Conway Tearle is forty-four and he is five
feet ten and a half inches. Dark hair,
no children, but he has had three wives.

Just a Dot.— Oh yes, I have been to
Palm Beach, but only for a short stay. I
couldn't stand the pace on twelve dollars
per week. Douglas Fairbanks, Jr., is about
fifteen. He is not playing in pictures —
going to school right now. Yes, of course,
I read every letter that comes into this de-
partment. That's all wrong about Thomas
Meighan being married thirty years. Why,
he isn't forty years old yet.

Eleanor. — Send a stamped, addressed
envelope for a list of the manufacturers.

Abram. — Well, the best way to keep
good acts in memory is to refresh them
with new. Richard Dix in "The Last
Man." Mary Thurman will play the part
of Pearl Hennig in "The Fool."

A Charlotte Stevens Fan. — She is
with the Christie Comedies, you know.
We dont hear much about her.

A Texas Blue Bonnett. — You refer
to Theodore Kosloff as Sender in "The
Law of the Lawless." Dorothy Dalton
in "The Lone Wolf." Ben Alexander in
"The Dub." Mary Astor has the lead
with Pat O'Malley in "The Throwback."
Jella P. — Address Charlotte Stevens
at the Christie Comedies, 6101 Sunset
Boulevard, Los Angeles, California.
Myrtle Stedman, Huntley Gorden, Robert
Agnew, Forrest Stanley and Clara Bow
have the leads in "Wine."

J. R. P., Philadelphia.— Well, to "get
the Sack" means to be discharged. It
originated with the Sultan, who when he
wanted to rid himself of someone in his
harem, had her put into a sack and thrown
into the Bosphorus. Ramon Xovarro in
"Thy Name Is Woman." There was an
interview with him in the August, 1922,
issue. May McAvoy is twenty-two.

Amy J. — You are, indeed, welcome; and
thanks for yours.

Ed. — Address her at Goldwyn, Culver
City, California.

Fluff. — The difference' is that love
weakens as it grows older, while friend-
ship strengthens with years. So you liked
"Girl Shy." So did I. I always see
Harold Lloyd's pictures. Address him
at 6642 Santa Monica Boulevard, Los
Angeles, California. Mae Marsh recently
returned from abroad.

Jo. — I dont know who wrote the follow-
ing : "Yes, loving is a painful thrill, And
not to love more painful still ; but oh,
it is the worst of pain, to love and not be
loved again." Colleen Moore in "Flaming-
Youth." Norma Talmadge is married to
Toseph Schenk. Baby Peggy in "Helen's
Babies." Is that all?

Heavenly Twins. — Laurette Taylor is
thirty-seven, you know. And now you want
to know whether Buster Keaton has a
sense of humor. That's funny. Search
mei

I Wonder. — Well, let's get acquainted,
then. Theda Bara is to play in "Declasse,"
which Ethel Barrymore made famous on
the stage. Ralph Graves at the Mack
Sennett studios. Richard Dix is not mar-
ried and Bebe Daniels is twentv-three.
Shoo fly !

Pell. — Yes, I liked "The White Sister"
about as well as any picture I have seen
in some time. I heard the same speakers,
(Continued on page 107)

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VI I MAGAZINE I-

AUGUST

Qassic

Pictorial of Stage and Screen

Top Notch Headliners

A Terribly Intimate Portrait

Mary Hay

Photograph by Muray

A JOINT INTERVIEW With

■**■ Richard Barthelmess and
his Avife, Mary Hay, the idol
of Broadway footlights. Of
course it will include the coos
and ahs of Mary Hay 2nd.
Dont miss it.

Extra —

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DOLLAR EX-
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has arrived for
the extra to be
dropped from
the sob stuff cal-
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TV/T O N S I E U R

*•**■ BEAUCAIRE
IN SHORT STORY
form — the first
Valentino pic-
ture to reach
the screen in two
years. It is Booth
Tarkington's de-
lightful story
and it will be
profusely illus-
trated with stills
from the film
done in perfect
Valentino form.

On the News-stands July 12

100

Comment on Other Productions

(Continued from page 98)

the Negri too many close-ups. If is a
compact and moving story which carries
ocular appeal in a conspicuously lavish
scene representing a carnival ball. It is
best in its intimate moments when Negri
charms the men and then proceeds to give
them the air. The characterization is
much better than the plot. Robert Edeson,
who uses a lifted eyebrow almost as
effectively as Menjou, gives a good study
of a sincere roue- — and Robert Fraser is
adequate as the honest lover, tho it seems
unreasonable that such a temptress would
fall for such a callow youth as the actor
represents him. A vampire picture — but,
oh how the vampire has advanced in
technique since Theda Bara's day !

The Goldfish

This is the best picture that has come
Constance Talmadge's way in a long, long
while. It is a comedy, naturally (comedy
is Miss Talmadge's forte, even if she does
cast her eyes toward legitimate drama),
and as usual deals with the marital ad-
ventures of a girl who is advised to marry
— and keep on marrying men of wealth and
position if she would walk in the high
places. In other words, she uses her hus-
bands as stepping stones until such time as
she realizes that the first selection is the
best after all.

Miss Talmadge can play the heartless
flirt — and take away any indication of mak-
ing the character a vicious one. A comedy

vampire is something refreshing after one
has become used to the serious one taking
life a bit too morbidly. There is much
merriment here — and the scenes are deftly
— lightly sketched. The titles are good —
and the comedy is filled with amusing situa-
tions. What of the title ? Well the honey -
mooners have agreed that in case either
tires of the other he or she will hand the
other a bowl of goldfish. Which is
equivalent to handing out the w. k. brown
or grey derby.

In the cast and rendering competent sup-
port are Zazu Pitts, Jean Hersholt and
Frank Elliot. Jack Mulhall is present, too
■ — but he is not a light comedian. Still he
has repressed himself so that the star
would carry the comedy burden.

The Signal Tower

Sharp melodrama is offered in this story
woven around railroad life — melodrama
which makes a triangle of simple workers
— and which capitalizes a hero's sense of
duty. It builds with fine dramatic power,
carrying a deal of physical action and
several tense situations. In fact, it is the
kind of picture which will meet with in-
stant response because of its simple, in-
telligible conflict — and the melodramatic
incident which is dovetailed thru it.

You can imagine the suspense of the
situation in which a towerman, knowing
that his duty is to stick to his post and
(Continued on page 102)

Constance Bennett, who charmed her audiences as the flapper
in "Cytherea," is the daughter of a long line of theatrical
people. Her father is Richard Bennett, the popular stage
star. Remembering her magnetism and ease in this film, we
do not think it will be long before a great deal more is heard

of her

Photograph by Russell Ball

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101

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Comment on Otner Productions

{Continued from page 100)

save countless lives, but who also knows
that a drunken brute is making evil over-
tures to his wife. The solution may be a
trifle convenient — but it carries a genuine
thrill. The wife saves herself by pointing
a revolver at the brute, tho she is ignorant
of the fact that it is loaded. There is a
fine thrill when the freight train is ditched
and the Limited crashes by. A graphic
melodrama, played with good feeling by
Rockcliffe Fellowes, Virginia Valli and the
dependable Wallace Beery.

Riders Up

Once in a while a real, human interest
story is projected in an unpretentious film
— which conquers because of its realities —
and its complete absence of hokum. Here
is one which carries creditable simplicity
and quiet humor — which involves a horse
race — without projecting the usual climax,
that of showing the hero or heroine lifting
the mortgage on the old manse by riding
a winner. Nothing like that, if you please.

On the other hand, the central figure is
a race-track tout who has kidded the folks
back home that he is engaged in some
legitimate enterprise. He may not be
characteristic of the frequenter of the
stables — not as portrayed by Creighton
Hale — but his pal is, as portrayed by
George Cooper. Mr. Hale plays his part
with good spirit and understanding — but he
is not exactly the personality for the tout.

The youth goes home eventually, but mean-
while he resorts to several ingenious ideas
in getting a bankroll together. It's a sub-
stantial little story which never leaves its
simple groove to point some irrelevant de-
tail. It is well pieced together and sure-
fire in its appeal.

Triumph

Cecil B. De Mille has not plunged into
the "super-spectacle" field for this one.
In comparison to some of his efforts, this
is a really modest picture — which tells a
hokum drama of sharp contrasts and con-
flicts — built around a long-established
formula that one must appreciate wealth
and happiness by earning them — and in
earning them the protagonist must discover
humility. De Mille takes this central figure
— this young waster — and like a magician
makes him trade places with a bluffing
anarchist — a character who raves about
how he would divide with the workmen if
he were the owner of the factory. Well
he rises to the top — and forgets his fine
impulses. And the pendulum swings back
in the opposite direction.

There is much dramatic hokum — par-
ticularly in the relationship of the an-
archist to the figure of wealth. It is
pointed out that they are brothers. But
it is consistently interesting — and points
toward considerable humor. The De Mille
{Continued on page 105)

It was to be expected. No one with the prestige of Thelma
Morgan Converse could possibly go to Hollywood, interested
in a screen career, without its being rumored that she was
engaged to Charlie Chaplin. However, Mrs. Reggie Vander-
bilt's twin sister denies that the rumor is true . . . and it is
possible, after all, that they find pleasure in each other's
society without contemplating anything more serious than a
friendship

102
ae.

French Woman Tells
How to

Get Thin

Without Drugs, Diets,
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We Interview Mar?

(Continued from page 97)

of casual, but well-known friends — and
ivas greeting them with the easy affection
and recognition due them.)

(A. W. F. having efficiently directed
the chauffeur, turns to G. H.)

G. H. : Just used to this sort of thing,
aren't you?

A. W. F. : Yes, by the grace of movie
stars.

G. H. : Not necessarily. Some would
have permitted us to get out and walk to
our luncheon.

A. W. F. : I'm sadly aware of that,
my friend.

But every time I see Mary I think she
is lovelier to look upon and I'm impressed
anew at her wise and quiet talk. It be-
hooves anyone to listen.

G. H. : I know it. She is lovely. She
is one of the few celebrities I have known
who would be quite as well worth knowing
if she were Jane Smith instead of Mary
Pickford.

A. W. F. : And wasn't it human of her
to take us to the deatist's?

G. H. {interrupting with a vary face) :
VERY HUMAN, I should call it! Ouch,
my posterior molar.

A. W. F. (unheeding the slapstick in-
terruption) : She makes no pretense at
being magically beautiful, without resource
to the common aids and needs of man.
But hurry . . . here we are . . .

(The intervieivers dive into their bags,
searching frantically for change. Then
they look up at each other sheepishly.)

G. H. : Oh, I forgot. I was just about
to extract money for the fare.

A. W. F. : Here too. And I even
looked for the meter . . .

(Here the intervieivers alight Ritzily,
as the doorman opens the doors. They
disappear into the hotel, trusting they con-
vey an aroma of the World's Sweetheart.
But. alas, it is evident that their Rolls
Royce moments are few.)

jrMOTION PICTUW7

1(101 I MAGAZINE t)

Earle C. Liederman
The Muscle Builder

Rip Off Your Shirt

and get on the job. Work up a sweat and chase
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Dept. 308, 305 Broadway, New York City

EARLE E. LIEDERMAN,

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Dear Sir: I enclose herewith 10 cents, for which
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103
PAG

,]IW)I I MAGAIINE 1-

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104

Our Reporter's Notebook

(Continued from page 81)

A woman's privilege — Mrs. Sidney Drew
has changed her mind and will act with
Raymond Hitchcock, after all, in the series
of independent comedies already announced.
Mr. Hitchcock was on tour in the stage
play, "The Old Soak," and had to sack
his role for a part on the screen. It is
said that the five four-reel comedies to be
filmed will all be based on successful
Broadway plays.

Ramon at that age. The picture was
needed in the filming of "The Red Lily,"
and the embryonic Novarro will remain in
Hollywood as an extra.

Going — going — gone — the directorial ser-
vices of Fred Niblo to Joseph Schenck for
four thousand to eight thousand a week!
It had been Mr. Niblo's intention to go
abroad to direct Enid Bennett, his wife,
opposite Ramon Novarro in "The Red
Lily," but Mr. Schenck's offer was so
tempting that he decided to transfer his
directorial attention to Norma Talmadge.
Sidney Olcott will handle the megaphone
for the next Talmadge picture and will
then resign it to Mr. Niblo. Mr. Olcott
has been engaged by Cosmopolitan to direct
Marion Davies.

Peter Pan is still flitting from star to
star begging for a material body thru
which he can register his personality on the
silversheet. -Mary Pickford for one has
disclaimed the right to play the willowy
Peter. Mary says that even she is not
quite slim enough for the part.

Enter Eduardo Novarro — not a rival to
Ramon, but his thirteen-year-old brother,
who went all the way from Mexico, his
native land, to Hollywood, to impersonate

Another safe combination — George Mel-
ford, who filmed "The Sheik," will direct
Barbara La Marr in "Sandra," a story by
Pearl Doles Bell. The heroine is of dual
personality, a sort of Dr. Jekyll and Mr.
Hyde in unconventional but non-criminal
form — an interesting role for Barbara, and
another chance to show the world that she
can play the part of a semi-siren without
living it — newspaper reporters to the con-
trary. The quote from an interview with
her, according to the scribes, was that she
couldn't, and the reiterated statement just
about went around the world and made
Barbara and her producers vastly uncom-
fortable for a while. Since then she has
(Continued on page 106)

Habitues of Broadway's cafes and cabarets are all familiar
with the sparkle of Fay Marbe . . . and also with her fasci-
nating dancing. But, at present, Proadway misses this young
woman. She has given up her cabaret dancing . . . for the
time being at any rate . . . while she devotes all her time and
attention to the role with which she has been entrusted in
"The River Road." Whether or not Miss Marbe will dance in
this film has not yet been decided

Photograph by Pach Brothers

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Comment on Other
Productions

(Continued from page 102)

flair for glitter and glare is registered here.
And because there is so much show — so
much appeal to the popular impressions —
and so much good acting — there is no
doubt that it will entertain crowded houses.
Leatrice Joy, Rod La Rocque, Victor
Varconi — and several others give admirable
performances. They succeed in humanizing
characters that are often impossible of ac-
ceptance as real.

Ridgway of Montana

Following along the well-worn path of
the average, orthodox Western, this picture
furnishes no suspense nor surprise. We
have the central figure in conflict with
rustlers, all of whom he captures except
the ringleader — who is not brought in until
the climax — so that the story might pro-
gress. It depends upon incident — and much
of this is quite effective, particularly the
escape of the villain who leaps from his
horse on a high cliff to the river below.
But the best moment is the rancher's cap-
ture of the bandit — saved — as you must
know — 'til the climax. He secretes himself
in a wagon — and by using a rope to guide
it, he sends it crashing down a hill and
straight thru the bad man's cabin. A
short, but hectic fight finishes the rustler.

The picture has a conventional romance
established, on the premise of a spirited
girl determined to win the heart of the
bashful hero. And in bringing them to-
gether here and there, the director guides
them to the mountain top — and provides
them an atmosphere of impressive scenery.
Jack Hoxie is Ridgway — and he's likable,
even if he is not an accomplished artist
with the make-up box.

Why Men Leave Home

Avery Hopwood's stage play (not the
playwright at his best) adapted to the
screen manages to squeeze by the censors,
even with its intimate bedroom stuff fairly
well displayed. It sets forth in much
heavier fashion than its original just what
its title indicates. Hubby neglects his wife
for his stenographer. Result? A divorce
— and a subsequent marriage between the
gay philanderer and the girl with the dic-
tation pad. It is worked out in fairly
humorous fashion, tho there are moments
when it becomes a trifle tedious. When
Grandma quarantines the benedict and his
first wife — the old love wins out. And
they start on a second honeymoon when
the stenog is divorced.

There are some subtitles which are a
bit heavy. One of them was never pointed
toward humor intentionally, tho it will
probably excite mirth if it still remains in
the picture. The husband had found a
small sewing basket filled with baby
clothes. And when he discovers his wife
rearranging a chair he shouts : "You
mustn't be moving that heavy furniture
around, dear !" If these are not the exact
words the expression is something similar.
The piece is played with good authority
by Lewis Stone and Helene Chadwick.

A Girl of the Limberlost

Carrying considerable bulk in romance,
sentiment and heart appeal is this latest
adaptation of Gene Stratton-Porter's novel
— which is one of the favorites of the
libraries in large and small towns. Read-
ers of the novel may expect these ingredi-
ents in a picture which does not linger in
the memory. It is people with characters
(Continued on page 120)

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PAG

"sMOTlON PICTURF

01 I MAGAZINE L-

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"Behind the Scree
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By Samuel Goldwyn

This is your last chance — a one year sub-
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Send us $1.00 and we will enter your
subscription. The book will be mailed
parcel post C. O. D. Pay the postman
on arrival $2.00 plus postage.

CUT HERE

MOTION PICTURE MAGAZINE.

Book Department,

175 Dufficld Street,

Brooklyn, N. Y.

Please enter my name on your mailing list to

receive the

□ Motion Picture Magazine Q Classic □ Beauty

for one year commencing and also

send me a copy of Mr. Goldwyn's book "Be-
hind the Screen."

□ $1.00 enclosed — balance of $2.00. plus postage

will be paid Postman upon delivery
of book.

Name

St. and No.
City

State .•■••

For Canada add 75 centi — Foreign,

$1.25

Our Reporter's Notebook

(Continued from page 104)

discussed nothing stronger than her adopted
baby's teeth and soothing syrup with out-
siders, and in this wise and otherwise, has
mollified those who undertake to censor
the conduct of movie stars and their own
neighbors.

Chaney has gained this foremost place in
the Kleig because of his work as the drug
addict in "The Miracle Man," as the
hunchback in "The Hunchback of Notre
Dame," and as other remarkable characters
requiring strange and unique characteriza-
tion.

While Douglas Fairbanks is deliberating
on going to Southern Spain in order to
learn bull-fighting from the angle of the
film producer and star, Tom Terriss and
seventeen members of the cast of "The
Bandolero, - ' are on their way to the ro-
mantic location to stage a bull-fight and
take a number of exteriors. Among those
in the party are : Mr. and Mrs. Terriss,
Renee Adoree, Dorothy Ruth, Ellen F.
Kelly, Pedro de Cordoba, Guy A. Vaughn,
Thomas A. Arthur, and many others. The
company will stop in Paris entour to the
South.

"The Last Man on Earth," Fox has dis-
covered him and will make of him a big
superproduction — the last man would be,
of course. The story is by John D.
Swayne ; J. G. Blythestone will direct it.
Earle Fox has the title-role supported by
Grace Cunard, Gladys Tennyson, Clarissa
Selwyn, Buck Black and Maurice Murphy.

"He Who Gets Slapped," a successful
Theatre Guild production, has been secured
by Metro-Goldwyn-Mayer productions.
Lon Chaney will be starred in the role
that Richard Bennett made famous on the
stage. The filming of "The Tree in the
Garden," already announced for produc-
tion, will be postponed in order to give
place to "He Who Gets Slapped." Mr.

Why Girls Leave Home — it's not a cir-
cumstance to Why Girls Return Home, at
least, Lillian Rich thinks the latter is such
an interesting subject that she's written a
scenario on the theme, and some director
has agreed with her sufficiently to buy it.
Now it can be told : "Why Girls Leave
Home."

At the end of the rainbow — in a maze
of colors — that's where it would seem that
the Wanderer in the Wasteland found him-
(Conthmed on page 113)

Like every other man in the world, Tom Mix wanted a
son. He thought a son would step into his chaps and boots
and carry on. . . . But it was ordained otherwise and a
little girl came to bless the Mix ranch. Tom had her
christened Thomasina as a compromise . . . and now he
wouldn't part with her for all the sons in creation

,#s

106

0T10N FiCTU

MAGAZINE

The Answer Man

(Continued from page 99)

but I was at the dinner. Griffith was very
fine.

Eve of New Orleans. — Didn't you
know that Zantippe was the scolding wife
of Socrates? Emily Stevens is playing on
the stage right now. Pauline Frederick is
to play in the next Ernst Lubitsch produc-
tion by Warner Brothers. Ethel Clayton's
picture hasn't been named as yet.

Sky High. — Phoenix is a mythical bird,
without a mate, who renews itself every
five hundred years by being consumed in
a fire of spices, whence it arises from the
ashes and starts for a new flight. Betty
Compson is engaged to James Cruze, they
say, and she was born in 1897.

Jose V. Namle.- — Garcth Hughes at
Universal. No, he is not married. Ad-
dress Priscilla Dean at the Laurel Produc-
tions, Hollywood Studios, Hollywood,
California.

Pell.- — Hello, there. Glad to get that
fine letter of yours. Also thanks for the
pictures. So you finally saw Anita
Stewart. I like her a lot, you know. Why
didn't you speak to her? Haven't seen
many plays laterly. It's been too hot. Run
in again some time.

M. R. C. — Glad you like this department.
My but you are too young to become
bored with life. That was a very nice
verse you sent me about Gloria Swanson.
Wish I had room to publish it. Wouldn't
it be great if I could publish all the in-
teresting things sent to me.

Brown Eyes. — Antonio Moreno is
thirty-six and Rodolph Valentino was born
on May 2nd, 1895. How's that for speed?

Lionel. — Very few of the English pic-
tures are shown in this country. Some
of the German pictures were shown here
some time ago. Lionel Barrymore played
in "Meddling Women." Alma Rubens in
"Cytherea." Harold Lloyd's last was
"Girl Shy." Your letter reached me O. K.,
so dont worry.

Vonnie M. — Cheer up, the prize is al-
ways at the end of the trail. Pola Negri
at the Famous Players-Lasky Studio, 1520
Vine Street, Los Angeles, California.

Connie. — Rod La Rocque is with
Famous Players and Monte Blue at the
Warner Brothers Studio. Lon Chaney is
to have the lead in "He Who Gets
Slapped" for Metro-Goldwyn.

Methuselah. — Well, I will try not to
scare you. You mustn't be afraid of me.
I wont hurt you. Corinne Griffith was
Corinne Scott before her marriage. She
is now Mrs. Walter Morosco. Will you
write me again?

Ramona. — That's a poor description of
me. Guess again. Lewis Stone has
greyish hair and he is with First National.
Aileen Pringle and Jack Gilbert are to
have the leads in Elinor Glynn's "One
Hour." Ben Lyon and Pola Negri in
"Compromised."

True Blue. — You surely are welcome.
Gloria Swanson and Agnes Ayres with
Famous Players. Call again, wont you?

Grey Eyes. — Write to the Barrymores
at the Lamb's Club, 130 West 44th Street,
New York City.

Bob's Ramas. — Ramon Novarro is
twenty-three, five feet ten and weighs one
hundred and- sixty pounds. He has dark
hair and eyes. Virginia Valli in "Siege"
for Universal. Violet Mersereau in "Her
Own Free Will."

(Continued on page 121).

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erea

{Continued from page 36)

was like William Grove. And in the
orderly features of the wife Lee could
easily trace the character of Fanny. These
two seemed to dog the footsteps of Lee
and Savina. It seemed almost as tho they
were their dormant consciences, ma-
terialized, following them about. "They
envy us," Lee said, defiantly, "we have
what they have not." "They hate us,"
Savina answered, and her head dropped.

In Cuba, as they signed at the register,
they were recognized, but only for an in-
stant. The recognition was not followed
up by a greeting. Lee saw that Savina was
trying not to mind. It hurt him that she
had to try.

One of the things that Lee had counted
upon was staying with his brother Daniel

into the grey ash he held in his arms. A
flame. A flame that had warmed the cold-
ness within him. But when the coldness
had been within him he had been somehow
intact, automatic. Now he was broken,
broken into pain and tears. Solitary. A
wanderer.

After the funeral he went to Daniel's
plantation and spent days wandering in and
about the paths and winding roads. If he
could go on like this, broken and inco-
herent, not knowing, scarcely caring, living
on the pain that fed his body and soul like
tormented food ... in such a state he
might well live out the days that were left
to him. He was too agonized to take
count of what had happened, or of what
might happen in the future.

CYTHEREA
Told in short-story form, by permission from the Samuel Goldwyn production
of the First National release of the scenario by Frances Marion, adapted from
the novel by Joseph Hergesheimer. Directed by George Fitzmaurice. The cast :

Lee Randon , Lewis Stone

Fanny Randon Irene Rich

Savina Grove , Alma Rubens

William Grove Charles Wellesley

Peyton Morris Norman Kerry

Claire Morris Betty Bouton

Mina Raff Constance Bennett

Gregory Randon Mickey Moore

Helen Randon Peaches Jackson

Daniel Randon Brandon Hurst

on Daniel's plantation. There, he felt, they
would be in privacy. Curious eyes, per-
haps recognizing eyes, would not have ac-
cess to them. Their Paradise had been
one of solitude where they could learn the
graphic lesson of one another almost as
the first man and the first woman learned
it in their primeval garden. But Daniel
had never dreamed the dream of Cytherea.
He knew that Lee was coming, but as-
sumed, of course, that Fanny was to ac-
company him. He was exceedingly put
out when Lee appeared with Savina. He
had always admired Fanny and thought
that children came first in the scheme of
things. Besides, Lee had always been
"queer" and as his brother Daniel felt that
it certainly behooved him to say what he
thought of "such behavior" and to act ac-
cordingly. He both said and acted as he
righteously felt. He told Lee in no un-
certain terms that he couldn't fling all of
the conventions to the winds and expect to
be happy, but that if he insisted upon dis-
pensing with the conventions, then he would
have to do so in a hotel where such things
were usually carried on. Lee couldn't ex-
pect him, Daniel, to be a party to a thing
of this sort. Lee didn't explain. He- could
see in Daniel how hopeless an explanation
would be. Daniel could never know.

Lee took Savina to a hotel and there
they found the happiness they had sought.
But it was a happiness with a haze across
the sun. Savina never fully recuperated
from the oppression of the trip down and
it seemed to Lee as tho the very flame
of Cuba was consuming her.

Three weeks after their arrival in Cuba,
Savina went into a coma from which she
never awoke. She died in Lee's arms, and
never knew the arms that held her. She
died, Lee thought, breaking his heart over
her still face, as a flame dies. Flaring high
with tips of amazing blue, then subsiding

Once he tried to tell Daniel about
Cytherea and what she had meant to him.
Daniel fell asleep. He felt sorry for Lee,
really very sorry for him, but he couldn't
sympathize with a middle-aged man who
had a wife and family and had "gone daft"
over another woman.

One day Daniel confronted Lee with a
photograph of Fanny and the two children.
"After all, old man," he said, "they have
some rights. They are alone and lonely.
There is no reason why three people should
suffer, is there?"

Perhaps not. Perhaps the thing to do
was to go back and put Cytherea away and
play golf and enter his children in colleges
where their minds would be ironed to a
nice conformity and no vision would delude
them into heartbreak. One had to do
something. One might as well do that
something for others . . . there was
nothing left that Lee could do for himself.
After all, the years would slip by. In-
evitably, too, age would bring the chill
cold places back again, would heal over
with a scabrous coating the hot, sore place
Savina had left when she left him. Be-
sides, for him the riddle had been solved.
Life had revealed herself. A dream had
come to be. He could afford to donate
the patient years to the only others who
had any right to them.

Lee walked into the house at about his
usual hour. He might have come in from
the club after his afternoon of golf. The
children thought he looked tired and that
his hair had grown very grey, but they had
been warned to say nothing to him other
than that they were glad to see him. They
were glad to see him. and Lee felt choked
up when they threw their arms about him
and covered him with kisses. Fanny was
being a good sport, too, he thought. It
hadn't been easy for her. He had had the

108
Ge.

What Do You Intend

Doing After

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scarifying grief, but he had had the ecstasy,
too. Poor Fanny . . . she had had
only the sorrow . . . and the shame.
He, who felt no shame, could still share
hers.

Claire and Peyton were doing well . . .
there was an addition planned for the
club-house ... a tournament was on
for next week . . . the cook was leaving
and the servant problem grew more press-
ing daily . . . dinner was served and the
obnoxious center-piece was on the table.
Lee objected to it, and Fanny quietly had
it removed. . . . Lee thought again that
Fanny was a good sport. She had learned
something, too. They would grow old to-
gether and after a while he would forget to
put flowers on old graves. . . .

Letters to trie Editor

(Continued from page 65)

eyes, and wear gowns perpetrated by one
Clare W«st.

Then the culminating tragedy. The
genius did "Bella Donna" ; she attempted
"The Cheat," and gave up the ghost in
"Shadows of Paris."

Do you not think this would be a fine
story for Lubitsch to direct? And, could
you suggest some capable actress for the
sad role?

Respectfully,
L. George Edelhauser,
842 Classon Avenue, Brooklyn, N. Y.

A letter from the . Cumberland
Mountains opines that life would be
dull without the movies.

Dear Editor : There are some inter-
esting readings in your magazine, and I
enjoy them each month, for, socially speak-
ing, I am cut off from my friends out here
in the foothills of the Kentucky Cumber-
land Mountains — my friends being in the
Carolinas — and the fan magazines are a
pleasure and a comfort to me. I also
look after a small community theater,
which gives me a chance to know a bit
about the trade end of the industry. Be-
sides this I am studying the Palmer
Photoplay Course, which gives me many
interesting views of the industry and its
inhabitants. So all together — the trade
papers, fan magazine, and the story de-
partment — I am becoming acquainted with
most all who are connected with motion
pictures. And it seems to be one big-
hearted, whole-souled family. I consider
myself a member of it, and therefore
think too much of my family to knock any
member thereof.

Now and then some of the children eat
too many green apples and develop a bad
case of mental dyspepsia, or dissipate too
late at night only to wake up next morn-
ing with a grouch on, and instead of taking
medicine, or a walk in the fresh air they sit
down and bawl out some tired little picture
girl who is doing her best to do what she
is told to do, regardless of her own feel-
ings at the time, and, I know from per-
sonal experience, that she does her work
better than her sour-feeling critics. Of
course all their efforts cannot be the best.
Nor can they pick up any old story, or
part handed to them, and make a better
picture out of it than the last good one
they made. What office girl, or candy
uncle, can produce proof that he or she
has made each day's work better than the
previous day? Who knows of a cook who
prepares her meals better and better each
time? I've seen grouches, knockers,
(Continued on page 115)

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109
PAG

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The Editor Gossips

{Continued from page 53)

flat that a man from New York desired
an interview with Miss Turner. She be-
lieved he represented a newspaper and was
desirous of interviewing her about a two-
reel film she had made shortly before in
which she had imitated several of our
American stars. She hoped some word of
her impersonations had found its way
across the Atlantic.

She was to be interviewed. . . .

It was as tho a shadow from her erst-
while fame moved across her drear path.
She planned the engagement away from
home. A bare flat, crying aloud of
poverty, that is hardly a background
against which a motion picture star may
be interviewed. She planned her costume
carefully. A suit bought in Paris years
before was brushed and pressed for the
occasion. And a Paris suit is a Paris suit.
A paradise feather, reminiscent of gay,
care-free days, brightened her hat. And
Florence Turner went forth to keep her
engagement.

Of course the poor man thought he had
found the wrong person. But finally,
when she was confronted with a clipping
which he had and which spoke of her
poverty and poor health, she admitted
everything. She realized the truth had
seeped thru because of a letter she had
written a character man, formerly with
her at the Vitagraph, in which she had
said there would be no customary gift
this Christmas because she was in such
straits. After much deliberation and
thought, it appears that he had decided to
make her plight known. Maybe he knew
that his profession would not permit a
veteran to brave misfortune without offer-
ing assistance.

Miss Turner explained that it was really

a relief to quit the heart-breaking game
she had been forced to play. It was a
relief, too, to admit all those things which
she and her mother had been dedicating
their lives in disguising.

Failure, humility, poverty — three grey
sisters. But it would seem that they had
left Florence Turner her sense of humor.
She can laugh at the old French suit and
the paradise plume which so nearly con-
demned her to a continuance of the life
that is now behind her. And the fact
that she can laugh goes far in proving that
the bruises life has dealt her have not
stamped out her spirit.

We take this space publicly to welcome
the screen's veteran actress back to the
shores which she left in her heyday,
ignorant of the trials which awaited her
a few months ahead.

And then we stop with praise for Marion
Davies. The youth which Miss Davies
knows — youth supplemented with wealth
and fame — is not apt to be thoughtful and
charitable. Youth is gay with dancing feet
and eyes turned towards the stars . . .
superior with untried confidence
imperious with its heritage of health,
courage and beauty still untouched . . .
and lacking sympathy because it lacks un-
derstanding and experience.

Surely when such youth stops in its
parade of glamorous days to hold forth a
helping hand to a comrade in distress, it is
an unusual youth, rich in promise.

We started this gossip shop because it
seemed to us that the casual, intimate
things . . . the intermittent amusing
things . . . and the most interesting things
generally never found their way into print.
For instance, we think the following
excerpt from a friendly letter Helen Car-

One time a local newspaper in a little town where Jack Holt
and Noah Beery were on location wrote them up on the
front page. They said, among other things: "Mr. Jack Holt
is accompanied by his wife, who is known on the screen as
Miss Norah Beery." And now Jack calls Noah his squaw

110

GE.

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lisle sent us is one of the most amusing
incidents we've heard in a long time.

"Here's something amusing," she writes.
"When 1 was on location with the
'Wanderer of the Wasteland' company,
Jack Holt insisted upon calling Noah
Beery his 'squaw.' Finally he told us why.
It seems that when the company was in
Yuma, one of the local papers writ 'em
up on the front page. And they said,
among other things, 'Mr. Jack Holt is ac-
companied by his wife, who is known on
the screen as Miss Norah Beery.'"

Miss Carlisle does not tell us what Noah
Beery is quoted as saying when he picked
up the local paper and read that paragraph
but anyone with a good imagination who
has seen Noah upon the screen can prob-
ably decide for themselves.

We tea-d, in a manner of speaking, with
Edmund Lowe one afternoon last month.
And if this gentleman's looks can be
criticized it is on the ground of his being
too good-looking. And if his appearance,
as might be expected in the course of
human events, had ruined him for any
practical use, our worst fears would have
been realized. We know how interminable
a tea can seem when opposite you sits a
young man who by one indirect means or
another impresses you with the difficulty
he has in avoiding advances of young
ladies ... of how professional jealousy
on the part of women stars has always
handicapped him in his career, etc., etc.

But Edmund Lowe is not this sort. He
is simple, natural and quite unaffected. He
talks on diverse subjects in a well-in-
formed way which does not belie the rumor
that he was once a college professor,
furthermore, a professor of the History of
English Literature. _ Let that impress
you. . . .

Coming from a family of lawyers, he
was trained for the bar but while attending
a Jesuit college he discovered his penchant
for the drama and either on the stage or
screen he has followed it ever since. And
after all it is not strange that the son of
a lawyer line should make a good actor.
Everyone realizes how necessary a good
dramatic sense is to any lawyer. Emo-
tional reactions have swayed juries time
and time again, despite all the injunctions
in the world from the presiding magistrate.

Talk drifted and Edmund Lowe told
us that the Fox company were going to
loan him to Ince for a role in "Barbara
Frietchie."

"I'm crazy to do it," he said. "Civil-
War days have always held a great fas-
cination for me. I've spent hours just
reading a resume of battles."

We told him we had had a grandmother
who had a score of personal experiences
during this war and he was all interest.

"Is she still alive? Would she tell me
those stories ?'"

Both these questions were asked in one
breath. We felt as badly to disappoint
him as we would have to disappoint a
child. And as we looked across the table
at him we saw an Edmund Lowe stripped
of the sophistication ... a different
Edmund Lowe from the handsome gallant
with a sure swagger who is a regular
"first-nighter" during the theatrical season.
And who is to deny that the real Edmund
Lowe, for one brief moment, pierced the
veneer we call a charming manner.

We have met Mrs. Antonio Moreno
several different times now and each time
the truth of the very pleasant things we
first thought of her is emphasized. She
possesses those things we envy most — an
intelligent sanity, a sympathetic under-
standing and a definite, unblurred perspec-

~ '^jr*

Mrs. Ella Carpenter, New Orleans, La.

Takes Off 41 lbs.

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'T had long wanted a means of reducing, but
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What You Can Lose

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Mrs. Carpenter states that she made this won-
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Height Age Age Ape Age

20 to 29 yrs. 30 to 59 yrs. 40 to 49 yrs. 50 and Over

ches

Lbs.

Ill

116

122

125

113

IIS

124

127

115

120

127

130

118

123

130

133

122

127

133

136

125

131

137

140

129

135

141

145

133

139

145

150

137

143

149

155

141

145

153

159

145

147

156

163

Free Proof to Any Woman Who
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WALLACE

630 S. Wabash Ave., Chicago (396)

Please send me FREE and POSTPAID for a week's
free- trial the Original Wallace Reducing Record.

Name.

Ill

J AMOTION PICTURf
SI I MAGAZINE *-
i

CDa^IPCDMTlUWIIirY MAMKET

AGENTS WANTED

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fashioned hosiery to regular customers. All or
spare time. No cash required. Immediate com-
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AGENTS — $60 a week selling guaranteed hosiery
for men, women and children. Must wear 12
months or replaced free. All styles and colors,
including finest line of silk hose. Mrs. McClure
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Big Money and Past Sales. Every owner buys
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BEAUTY SECRETS

Tiie two secrets of a Southern Belle. Possess
these Secrets of Face and Figure Magnetism — the
most powerful personal assets in the world. Girls
cannot begin too young. Women, don't delay !
Easy to apply yet marvelously effective. Send
$1;00, cheek or money order, today. Marie Louise,
132 W. 72nd St., New York City.

HELP WANTED

All Men, Women, Boys, Girls, 17 to 65, willing
to accept Government Positions $117-$250, travel-
ing or stationary, write Mr. Ozment, 294, St.

Louis, Mo., immediately.

U. S. Government wants men 18 up. Eailway
Mail Clerks — City Mail Carriers. $117-$192 month.
Steady. Information free. Write immediately.
Franklin Institute, Dept. M105, Rochester, N. Y.

HELP WANTED— MALE

Be a Detective — -Exceptional opportunity ; earn
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HELP WANTED— FEMALE -

Ladies Earn $6-$18 a Dozen decorating Pillow
Tops at Home ; experience unnecessary. Par-
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LaGrange, Ind.

HEMSTITCHING AND PICOTING

Hemstitching and Picoting. Do work for others.
Attachment with instructions by mail $2. Works
on any machine. Emb. Needle Free. Kebus Co.,
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MAIL ORDER METHODS

$50 A WEEK EVENINGS HOME. I made it
with small mail order business started with $3.
Booklet for stamp tells how. Sample and plan
25 cents. One dozen Articles free. I trust you
for $3.00. Almpc Scott, Cohoes, N. Y.

MOTION PICTURE BUSINESS

$35.00 Profit Nightly — Small capital starts you.
No experience needed. Our machines are used and en-
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NEWS CORRESPONDENCE

Earn $25 Weekly, spare time, writing for news-
papers, magazines. Experience unnecessary ; de-
tails free. Press Syndicate, 961, St. Louis, Mo.

PERSONAL

Your Horoscope. Business, Character, Changes,
Friends, Enemies. Send birth date and ten cents
(stamps) for remarkable test reading. Zanya,
Y200 W. 70th St., New York.

PATENTS

Inventors — Write for our free . illustrated guide-
book, "Hew to Cbtain a Patent." Send model or
sketch and description of your invention for our
opinion of its patentable nature free. Highest refer-
ences. Prompt attention. Reasonable terms. Vic-
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PHOTOPLAYS

Successful Photoplays Bring Big Money. New-
book "Successful Photoplays," full instructions for
writers. Send for free copy. Successful Photo-

plays, Box 43, Pes Moines, la.

Stories and Photoplay Ideas Wanted by 48
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Producers League, 441, St. Louis, Mo.

$ $ $ FOB PHOTOPLAY IDEAS. Plots ac-
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Journalism — Photoplays — Short Stories. Plot
Chart and Details free to those wishing to enter
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Harvard Company. 434, Montgomery, San Francisco.

Short Stories and Photoplay Plots. Revised and
Typewritten in proper form and placed on the
Market. Send manuscript or write H. L. Hursh,
Do-pt. 2, Box 1013, Harrisburg, Pa. ;

SONGS

A $500 Cash Prize is offered for the BEST SEC-
OND VERSE TO "I'LL BE WAITING." Those
wishing to compete may receive a free copy of this
song and rules of contest by addressing EQUITABLE
MUSIC CORPORATION, 1658 Broadway, N. Y. C.

STORIES WANTED

Stories, Poems, Plays, etc., are wanted for pub-
lication. Good ideas bring big money. Submit
MSS. or write Literary Bureau, 134 Hannibal,. Mo.
Earn $25 Weekly, spare time, writing for news-
papers, magazines. Experience unnecessary ; de-
tails free. Press Syndicate, 961 St. Louis, Mo.

VAUDEVILLE

Get On the Stage. I tell you how ! Personality,
confidence, skill developed. Experience unneces-
sary. Send 6c postage for instructive illustrated
Stage Book and particulars. M. LaDelle, Box 557.
Los Angeles. Cal.

Yon

Free Literature en
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tive. Men like Antonio Moreno, celebrities
who might choose any type, seldom marry
women so infinitely worth while. They
become infatuated with some gay young
flapper with whom they have been playing
around and then wedding-bells sound a
funeral knell. Mr. Moreno has had the
discrimination and wisdom to marry a
woman who has come thru the fire of
trials with her spirit quite unbroken . . .
with her belief in mankind tempered but
not destroyed . . . whose beauty will
stand the test of years because it is en-
hanced by intelligence and sympathy.

One day before lunch we were with her
in their suite at the Plaza and we happened
to mention that we would like to know
Billie Dove. We had seen her the evening
previous in "Wanderer of the Wasteland"
and we were impressed with the clarity of
her beauty.

The next afternoon Mrs. Moreno asked
us to take tea with her at the Ritz and
Billie Dove in the person of Mrs. Willat
was there. She is -quite as lovely to look
at in reality as she is upon the screen.
And, furthermore, she is more intelligent
than innumerable actresses we know who
have achieved a greater renown. We can-
not help wondering why this girl has not
gone further. It seems to us, judging
from her personality both on the screen
and off, that she has all the requisites of
a screen success. It may be that her star
has not yet dawned. . . .

Ate?.

vve jVLake a Correction

Word has just reached us
of an error which we made
in the June MOTION PIC-
TURE MAGAZINE in the
article "The Movies Outdo
Barnura." We described
Betty Balfour as "an English
vaudeville artist," and it
seems that Miss Balfour is
known for her work in
British films.

We regret this error and
are very glad to make this
printed correction.

112
ae.

Our Reporter's Notebook

(Continued from page 106)

self. The picture has been filmed in
natural color and the cost of the prints
alone is a million and a half, according to
report. The location is Death Valley and
the Grand Canyon. Jack Holt, Billie Dove,
Noah Beery and Kathleen Williams head
the cast.

Short subjects bait for the clubman and
t.b.m., so says Leland S. Ramsdell, mer-
chant and clubman of San Francisco. Mr.
Ramsdell is putting up the hard cash for
productions along these lines. The first
will be a series of eighteen two-reel puppy-
love pictures ; location, an American col-
lege; and will feature Gordon White,
eighteen-year-old Hollywood High School
boy. The pictures will be released under
the firm name of Hollywood Photoplay
Corporation.

A wilful woman — Theda Bara is coming
back to the screen, obstacles notwithstand-
ing. She has formed her own company;
elected herself president, and it is reported
that the Pacific Bank on the Coast is act-
ing as treasurer for Theda Bara Produc-
tions. She will make five or more features
within two years ; the first will be Zoe
Akin's "Declassee."

Jesse Lasky, vice-president of Para-
mount, has skipped overseas with his wife
and Jesse Jr., for a breathing spell. Mr.
Lasky will return shortly, but Mrs. Lasky
will remain for several months with Junior
and her pallet and brush for company.
Mrs. Lasky is an artist of no poor repute
and has exhibited her work both abroad
and in this country in the Eastern galleries.

Will Hays helps bury the hatchet — sit-
ting in with Dick Barthelmess, his lawyers
and a representative for Inspiration Pic-
tures Inc., the czar of the movie world
poured oil on the troubled waters and all
is well again between the producer and the
star. Dick will now make modern
American stories only, which means, of
course, that he will not be starred with
Lillian Gish in "Romeo and Juliet." John
Robertson is dusting off his megaphone,
and it is reported that Dick's next starring
vehicle will be the George M. Cohan stage
play, "The Song-and-Dance Man."

Where are the sets of yesteryear? Have
you ever wondered why the enormous cost
of production is not cut by reusing the
material employed in one set for others
that follow? Well, it is, when it's suitable
for the purpose. Part of the city of Baby-
lon, of the film "Intolerance," was used
as a war-wall in "Hearts of the World,"
and later for other productions. But one
of the most interesting by-products of a
movie set is the little church of Father
Picarilly, Guadalupe, California, which has
been reconstructed from the lumber sal-
vaged from the City of Rameses in "The
Ten Commandments," one of the largest
structures erected for any film. Father
Picarilly's church was built originally in
1844, when the Missions were falling into
decay and when covered wagons were in
vogue. It served well as a place of wor-
ship for the frontiersmen and later for the
Forty-niners. In its eighty years of ex-
istence much of the woodwork had rotted
but the sturdy beams and joists of pioneer
days are still sound, so it was easily re-
stored when the timber of the City . of

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113
PAG

/IGMOTION PICTURE
UneJI I MAGAZINE i-

<1BM

Yours truly, John Smith

ALL the world despises an anony-
^ mous letter. We like a man to
sign his name to what he writes.

But did you ever think that unknown
merchandise is anonymous? Nobody
to vouch for it. No name signed.

Notice the advertisements in this pub-
lication. There in bold print are the
names of those who stake their reputa-
tions — stake your good-will towards
them on the truth of what they have
Written.

The maker of advertised goods real-
izes that he might fool you once — but
never the second time. His success is
dependent upon your continued confi-
dence in what he says in the advertise-
ments.

Read the advertisements with confi-
dence. They tell truths that you should
know.

The measure of satisfaction is larger
in advertised products

Rameses, bought at salvage price, was
secured. Thus endeth the first lesson :
Pharaoh's pagan palace has become a place
of Godly worship, while huge legs, heads
and the bodies of Pharaoh's colossi, and
most of the Sphinxes are left to be
gradually covered by the sands of the
California desert.

But meanwhile, and here's the rub — the
Cathedral of Notre Dame in which "The
Hunchback" was filmed is being trans-
formed into a sport arena for the filming
of Jack Dempsey's series "Fight and Win !"

The aftermath — Florence Turner has
been returned to the fold of American
filmdom thru the courtesy of Marion
Davies and will have a part in "Janice
Meredith." Miss Turner, an early favorite
of American movies, and her mother were
stranded in England because of the slump
in picture production on the other side fol-
lowing the war. Miss Davies' offer to
Miss Turner came like a veritable bolt of
salvation, so unexpected was it in the midst
of her distress.

Miss Turner has brought back with her
an interesting two-reel print called "Film
Favorites," a sort of film monolog in
which she is the only actor and imper-
sonates everything from a decrepit old
man to an ingenue. Flo can certainly turn
the trick on the silversheet. She has lost
none of the vivacity and magnetism that
made her a screen favorite when she was
probably the only cinema actress that took
the movies seriously. She was featured op-
posite Maurice Costello in the old days and
was the undisputed queen of the then new
art.

"Belonging," by Olive Wadsley, a story
of society life in Paris and London, now
belongs to Maurice Tourneur for produc-
tion by right of the American dollar —
dollars, that is. "Belonging" pictures the
struggle of the Comtesse Desanges in de-
voting herself to her paralyzed husband,
Conti, while being distracted by the atten-
tions of Charles Carton and Julian Guise.
Conti's death, instead of bringing a solution
to the Comtesse, brings only a greater
problem.

Going it alone — in other words, "Single
Wives," those society matrons who shed
their husbands like old clothes, when they
refuse to climb the social ladder with them,
has gone into production with Corinne
Griffith co-starring with Milton Sills.
George Archainbaud who has just com-
pleted Earl Hudson's "For Sale," is
directing it. The picture is the first for Miss
Griffith since "Lilies of the Field," and
for Milton Sills since "The Sea Hawk."
Phillips Smalley will have a role in the pic-
ture similar to the one he took in "Flaming
Youth," Lou Tellegen will again register
in a divorce story, and Dr. Jere Austin who
has just finished an important part in
"Sundown," will appear in it also.

"The Lost World" — according to calam-
ity howlers, this might be a modern story
with its cast made up of Flapper and
Jellybeans, but it's much smarter than that.
It's a Conan Doyle fantasy dealing with
the experiences of a party of English ex-
plorers, who discover a lost world in-
habited by dinosaurs, tetrabelodons, ox-
dastylus and other prehistoric mammals.
Natural History Museums beware of
bandits ! No date is given for this First
National production, raids being notori-
ously uncertain as to results.

{Continued on page 116)

114

„-.OTION PICTURT

Bl I MAGAZINE f

Letters to tKe Editor

(Continued from page 109)

chronic fault-finders sit down to a well-
prepared meal and pick flaws with every-
thing. Just plain fussy. To me it was an
elegant feast. Now the same is true in
regard to pictures. The theater has its
share of grouches and fault-finders, the
same as the boarding-house. Nothing is
right to them. If it were they fail to say
so. But they knock to beat .

Just recently I had a "Jimdandy" good
time seeing Miss Pola Negri in "Shadows
of Paris." I'd love to see it again. In
your June issue a sour pessimist gives
vent to his ill feelings and takes it out on
dear little Pola. And that after so many
real paid critics of the Metropolitan papers
and magazines had praised it ! Even I
had written Miss Negri a note of appreci-
ation. Shame on that R. Fox !

It is all right and, no doubt, proper, for
a fan to express his likes and dislikes.
But it is impolite to grow bitter and per-
sonal in doing so. The actors and the
actresses look for and appreciate real and
honest criticism. It is helpful to them in
their work. But what busy star will waste
time reading whimsical dislikes?

When I saw "the screen's sweetheart"
or as Mr. Edison says, "America's Dar-
ling," in "Rosita," I wended my way back
to a lonely hotel wondering how soon I
would be able to invite the "Queen" to
come visit in the South with me. And I
thought up a thousand nice things that I
would do for her. How I have, do, and
will love Mary ! Then some hateful old
pessimistic grouch came along and criti-
cized her ! That person ought to be in
Purgatory with all the gates shut !

And I'll bet Miss La Marr will appre-
ciate my expressions on her acting in
"The Eternal City," with a great deal
more relish than she will the sour grapes
that another writer sent to the magazine.
My idea was to make her feel good, and
aspire to do even better by encouraging
her. The pen-biter evidently had the idea
of knocking her into something more to
his liking. Leave that to the low grading
politicians, brother. Talk nice to our girls
when you speak to them. They will re-
spond much more readily, and more cheer-
fully. I resent slurs being cast at the
charming members of my picture rela-
tives. So stop it. Take a personal in-
ventory and look well at the "on hands."
Use discretion : spare your ignorance. Lay
aside your pessimisticness : become an op-
timist. Cease to throw bricks : learn to
pass rosies. Ridicule is not criticism.
Think twice before you write. For with-
out the movies, life would be dull.

With my best wishes to the writers, the
producers, stars and extras, leads and
supporters, cameramen, props, directors,
cutters, publicity men "Wampus," ex-
changemen, salesmen (?) and fans, edi-
tors, and my- warmest congratulations to
the charming little winner of the Exhib-
itors' Herald only contest, I am

Most cordially and sincerely yours,
Joseph J. Enloe,

Box 68, Hitchins, Ky.

Praise for Lois Wilson, which the
editor indorses as well earned.

Dear Editor: I just wish to say some-
thing about two actresses — they are Lois
Wilson and Gloria Swanson.

I have often wondered why you dont

hear more of Lois Wilson. She is a

very sweet and charming little actress in

all her pictures. Take "The Covered

(Continued on page 118)

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Our Reporter's Notebook

(Continued from page 114)

Myrtle Stedman's favorite quotation at
the present moment is :

"A book of verses underneath the bough,
A jug of wine, a loaf of bread, and thou
Beside me singing in the wilderness,
Ah, wilderness were paradise enow."

Raison d'etre: that Myrtle is working in
two pictures at the same time ; said pictures
being "Bread," a Metro feature; and
"Wine," a Universal. Miss Stedman's next
features will be "Soup," and "Fish." Less
poetic but more filling. The full cast of
"Wine" is : Clara Bow, Forrest Stanley,
Huntly Gordon, Myrtle Stedman, Robert
Agnew, Arthur Thalasso and Walter Long.

so well informed of royal as well as
ordinary customs that authentic films are
necessary and the presence of the ex-King
would save heavy work of research.

Rodolph Valentino, after five days of
fencing scenes in "Monsieur Beaucaire,"
turned his back on the Paramount studios
on Long Island, and slipped off to Miami,
Florida, for a rest. When he returned he
jumped right into the filming of the
adaptation of Rex Beach's story, "Rope's
End." Joseph Henabery is directing it.

Pauline Garon and Irene Rich crossed
the pond to act in the English film produc-
tion, "What the Butler Saw." The Eng-
lish company is said to hold an option on
them for another picture, but if they want
Miss Rich in a second story, they'll have
to make it snappy, as another engagement
compels her to be back in Hollywood
within six weeks of the time she left the
Golden State.

American nerve or go-get-itness, what's
the odds? Allan Dwan has cabled former
King George II, of Greece, asking him
to take a role in "The Queen's Love Story,"
a Mary Roberts Rinehart novel in which
Lois Wilson will be starred. He wants
the former sovereign to appear as a Balkan
ruler, and to act as technical adviser so
that the picture will be correct in every
detail. News reels, round-the-world tours,
radio broadcasting, and other educative
means of the twentieth century, keep people

Pola Negri in "Men" was more the
Negri of exotic charm than she has been
in any production since coming to
America, tho the story itself was only
fair — Q. E. D. : Dimitri Buchowetzki, the
Russian director, has the Negri combina-
tion. He is now directing her in "Com-
promised," a story written for the screen
by Paul Bern. In getting his cast together,
Air. Buchowetzki at first considered only
Europeans for the foreign characters ; he
soon found, however, that our own actors
could depict French characters from the
humblest villager to the most exalted
aristocrat. So in the cast we find, besides
the Negri, Robert W. Frazer, Robert
Edeson, Josef Swickard, Monto Collins,
Gino Corrado and Edgar Norton.

Constance Talmadge has postponed the
filming of "Learning to Love," the Em-
erson-Loos story. Her next picture will
be taken from a story adapted from the
German. Perhaps Connie wanted to learn
German before tackling the love-stuff.

There was a brilliant audience at the premiere of
"Secrets" in Los Angeles. The cinematic Four
Hundred turned out en masse. This flashlight was
taken of Norma Talmadge and Eugene O'Brien as
they stood in the lobby receiving the congratulations
of some of the most popular stars in movieland

^MOTION PICTU

inel I MAGAZINE

"Say, who is
that doll going
into the big
house? Oh
Boy! What a
beauty! Get
me a knock-
down to her!"
Thus Miles
Orkney arrang-
ed for another
victim. It was
Hope

A?^ CoT«fOs 'S-umes.

Do You Know

the Difference

Between

Liberty

and

License?

IT S THE DESIRE FOR LIBERTY
that drives a girl away from
home.

It's the exchange of liberty
for license that brings her
back a broken butterfly. Per-
haps she doesn't mean to be bad,
or, perhaps, like Hope Brown,
she does, but whatever the mo-
tive the result is the same and it
is usually brought about by a
crisis similar to Hope's.

Hope went into the dining-room where highly decorated ladies were noisily drinking and eating. The
landlady entered. "Got that board money yet ?" she harshly demanded of Hope. Hope shook her
head frightened. "I haven't a cent," she confessed. "Then you'll have to leave," commanded the woman.
Thus put out of the only place she knew in the City, Hope stepped into the street. The night was
terrifying, dark.

This is one of the breathless situations in "The Girl Who Couldn't Be Bad." It is the same tragedy
that may meet your little sister or your childhood chum when they run away to the City "to live
their own lives." Such a misfortune may even overtake you!

If you are restless — if you are tempted to seek your own Fate —
You will want to follow Hope Brown's experiences as told in

"The Girl Who Couldn't Be Bad

A six-part serial

By Henry Albert Phillips

August Motion Picture Magazine

On the News-stands July First

117

PAS

"■.MOTION PICTURF
6)1 I MAGAZINE L

The pledge of the
printed word

FRIENDSHIPS in ancient days
were formed by pledges of blood.
Medieval knights won mutual aid by
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Letters to the Editor

{Continued from paye 115)

Wagon," "To the Last Man," "Bella
Donna," "Pied Piper Malone," "The Call
of the Canyon" and "Icebound." She had
big parts in them all. The plays were
different in type and style, but she por-
trayed each role very well indeed, and
showed that she had the ability as an
actress. What I like about her is that she
is so natural in her acting and doesn't
carry on like a great many of them do. I
have an honest admiration for her and
trust that as time goes on she will gain
the favor of other people besides myself
and the others that like her.

Gloria Swanson is entirely different. So
many people refer to her as a "clothes
horse." which is very insulting, I think.
In "The Humming Bird," which was her
best picture, I'm sure you couldn't have
called her such a thing, as she wore pants
most of the time. I heard some people
say : "Oh, she only plays society roles."
I think they must admit that she does them
well. If she didn't use quite as much
make-up she would look a little better.
I like her because she is so different from
other actresses. There is not another
woman on the screen, that looks like her.
If she played in pictures that were not all
alike, I think people might like her better.
In my mind she has improved and will
continue to do so.

Sincerely yours,

Mary P. Bigelow,
2 Orchard Street,
Amherst, Mass.

Lillian Gish is mentioned as a suc-
cessor to the immortal tragedienne,
Duse.

Dear Editor: Do you know who I
think is the worthy successor to the late
tragedienne, Eleonora Duse? None other
than Miss Lillian Gish, whom I consider
the world's greatest cinema actress. If
there is a greater actress, I have yet to see
her. Negri, Pickford, and Talmadge can-
not compare with the Gish. The greatest
piece of acting I have ever seen was Miss
Gish's hysteria moments in the closet
scenes of "Broken Blossoms." I defy
anyone to name a greater scene than this.

Recently, I have seen her in "The White
Sister," which played to a capacity week's
run. Miss Gish was superb ! In this role,
she held the public "in the hollow of her
hand."

I am anxiously awaiting her "Romola."
I have no doubts about her being a suc-
cess in this role. Here's hoping that
Chaplin or Lubitsch will direct her in the
future. I know she would reach greater
heights if she ever does do "Romeo and
Juliet" — why not Ronald Colman for the
role of Romeo?

Sincerely yours,
George A. Abbate,

630 Mary Street,
Utica, N. Y.

Criticism for Gloria Swanson's
clothes and the way she wears them.

Dear Editor : I have often wondered
why Gloria Swanson has been called the
best-dressed woman on the screen. To my
mind she suggests not even a mannequin
(one could not insult Hebe) who are never
overdressed. Their clothes seem a part
of them. Their jewels are blended in with
their costumes. The other day I sat next
a woman at Huyler's who like myself was
(Continued on page 12)

f/118

Across the Sil\)ersneet

(Continued from page 57)

"Wanderer of the Wasteland," the other
picture which we saw this month, is, with-
out any doubt, one of the most interesting
pictures we have ever seen. And we be-
lieve that some day its advent will be
written into motion picture history. It is
as gay in color as Jacob's coat. Red is
red. Blue is blue. Green is green. And
so on. All colors are not toned down to
various greys.

We have had other color photography
before. But this is far and away the best
color photography we have ever seen.
There are no prismatic flashes, heretofore
frequent on a colored screen. Nor is there
an eye-strain. We are satisfied that the
men who have interested themselves in this
medium of reproduction have come a long
way. And we hope they will now divide
their efforts between perfecting it further
and making it practical for general use.

The producers of this picture were wise.
They might easily have become so en-
thusiastic over their color reproduction
that they would forget the story and its
presentation. They have not done this.
Nor have they chosen a story which would
serve primarily as a vehicle for their
photography. Quite the contrary. They
have placed their photography in the posi-
tion of importance it will normally occupy :
that of enhancing and supplementing the
production itself.

The general tenor of this story may be
gaged from the title. And readers of
Zane Grey stories who know the highly
dramatic incidents of which his facile pen
is capable will not be disappointed in the
drama of the "Wanderer of the Waste-
land." However, adventuresome and ro-
mantic as the incidents are they do not
strain your credulity. And, despite the
fact that satiety has taken its toll in leav-
ing us almost immune to celluloid thrills,
we admit that two or three episodes found
us tense at the very edge of our chair.

A desert background must be trying so
far as color photograph is concerned. For
the colors of the desert are elusive and
strange. At a distance they are indistinct
and misty. Yet all of this has been faith-
fully recorded. And even embroideries,
small in design and varied in color, are
now screen possibilities.

This picture, which was both directed
and photographed by Irvin Willat, has in
its cast Jack Holt, Kathlyn Williams,
Noah Beery and Billie Dove. And we can
only repeat that even after days of critical
retrospection we believe "Wanderer of the
Wasteland" to be one of the most inter-
esting motion pictures we have ever seen.

We have high hopes for the motion
picture when Technicolor plays a part in
the filming of every production.

ihOl I MAGAZINE i\

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Comment on Other Productions

{Continued from page 105)

who live close to nature, and in its stark
simplicity it offers a love story that may be
nailed with delight by those who have be-
come satiated with unconventional antics
of the Modern Rebels so easily bored with
life.

Its appeal lies in its simplicity and sin-
cerity, for coming down to dramatic points
the picture loses value. Its characters
never really come to life — and its senti-
ment is often carried too far — so the whole
thing cannot be called very convincing.
Balancing the mediocre photography and
the production details — which are not so
good — it is an adequate interpretation ; one
or two moments of humor — and the
naturalness which the picture has in spots.
Gloria Grey is the heroine — and she gives
a charming portrayal. A large cast of
well-known players assist her.

Daring Youth

The probationary marriage fostered by
Fannie Hurst, Thyra Samter Winslow,
Ruth Hale and members of the Lucy Stone
League has been taken advantage of by an
observant author for comedy expression.
Dorothy Farnum, who concocted this
story, pays her compliments to Fannie
Hurst in a foreword in furnishing her the
inspiration — and then proceeds to puncture
the ideas of this well-known writer in
order to capitalize the humor of the situa-
tion. Miss Hurst declares the plan is
working out beautifully because neither she
nor her husband have an opportunity to
tire of each other — seeing that they
breakfast together only on certain days of
the week. Miss Farnum does not have
her heroine use her maiden name after the
ceremony. She doesn't go so far as that.
She points out thru conflict that Miss
Hurst's scheme isn't feasible for comedy
purposes. And it all simmers down to the
husband's employing caveman tactics in
subduing his spirited spouse.

The story is slight and the action is
concentrated into a few love spats — with
the young honeymooners playing a game
with each other. Come to think of it, the
idea has often been used, tho it hasn't been
introduced with the probationary marriage.
The picture is well directed and played in
competent fashion by Bebe Daniels, Nor-
man Kerry and Lee Moran. The latter is
the "goat" of the situation — the man se-
lected by the wife to provoke her husband
into becoming masterful. All this wife
was looking for was appreciation and
jealous love. And she found them and
beamed with happiness. A likely story re-
leasing a whimsical touch and a fair sug-
gestion of humor.

Kentucky Days

A melodrama of covered wagon days is
offered here — one which is a trifle far-
fetched in plot and characterization to
shape up as genuine, but which presents a
creditable amount of action and suspense
to offset its shortcomings. Dustin Farnum,
whose luck has never been very good so
far as having worthy material, strives to
make something of his role. But the de-

mands are too great. The plot is too trite
and overdrawn — and the central character
is too vindictive to be convincing.

It is a triangle of a red-blooded Ken-
tuckian who seemingly stops at nothing in
meting out revenge upon his faithless
spouse. He lugs forth the duelling pistols
and kills his enemy. And if you think his
anger is quickly smothered, let us tell you
that he orders his wife from his home, sets
fire to the manse — and compels her to ac-
company him to the vast open places of
the far West. There can be only one solu-
tion. And it is the obvious one. The wife
proves her loyalty — and a reconciliation is
effected. Look for a melodramatic climax
which features a fairly thrilling sandstorm
— with the rescue of the wife by the hus-
band. Look for a vigorous portrayal —
and some colorful punches and perhaps
you'll enjoy it after all.

The Lone Wolf

Carrying the intensified action and at-
mosphere of a serial, this picture should
find response with action lovers. And if
they argue that it is overdrawn, let us state
that the central situation is now being
worked out and demonstrated by men as-
sociated with the English army — altho the
director and author of this had no knowl-
edge that their minds operated along the
same channel.

This climax deals with a powerful ray
which is so tense that it will stop an air-
plane engine in midair. It possesses all
kinds of possibilities toward making re-
lentless war or solving the problem of the
futility of warfare. Here it furnishes a
thrilling moment of a hectic melodrama
filled with exciting chases, fights and hair-
breadth escapes. And it carries speed and
action all the way. And there is a ro-
mance to balance it — a romance which
seems like an afterthought in connection
with the melodramatic exploits. Dorothy
Dalton and Jack Holt — and several others
of film and theatrical fame, enact the story
with capable feeling.

A Circus Cowboy

There is nothing unusual in this film.
It carries the accepted stereotyped variety
of ordinary melodrama which has charac-
terized dozens of its kind. Its redeeming
note is its atmosphere and while it takes a
couple of reels to land you inside the big
tent, you wont get the thrill that you an-
ticipated. We have the hero and heroine,
the villain with his theatric cringing — and
the latter's son of weak character — not for-
getting the misguided girl who craves
finery above the true love of a real man.

It features the romance of a cowboy
who loses the love of a small town girl
because of her vainglorious attitude — but
who finds a sincere love in the figure of a
circus wire-walker. In building up this
perfectly obvious situation we are given
scenes exploiting Charles Jones' horseman-
ship — and some entertaining circus stuff.
The director has squeezed everything pos-
sible from the story — and succeeds in mak-
ing it fairly enjoyable.

120
G£

The Answer Man

(Continued from page 107)

Peppy Pepper. — Well, the prejudices of
men emanate from the mind, and may be
overcome; the prejudices of women
emanate from the heart, and are impreg-
nable. Most of the players will send their
pictures if you request them to. Thanks
for the compliment.

Equator. — That was some verse you
sent me. And you would like to see
Mahlon Hamilton on the cover. Let's have
a contest, which would you rather see on
the cover, a man or a woman?

The Bedroom Window.- — That's some
name. No, Fred and Lewis Stone are not
related. I haven't a radio. Cant afford
one.

Pell. — Thanks again. You must have
had a great time at the studio. I always
enjoy yours. Congratulations, another
year gone. Wait until you get as old as I
am.

Mary C. — No, Claire Windsor is not
married at this writing. Henry Walthall
is married to Mary Charleson. Matt
Moore and Wallace Beery are also in the
cast of the next Lila Lee and James Kirk-
wood picture, "Another Man's Wife."

Mercy. — Glad to hear from you. Most
of the players you mention are with
Famous Players-Lasky.

Tennessee. — No, he never smiles. I
wonder why?

Abie's Irish Rose. — Rod LaRocque at
Famous Players-Lasky in California.

Letters to the Editor

(Continued from page 118)

partaking of a hot chocolate and sand-
wiches instead of wasting our nickels at
the Ritz or Biltmore. A casual glance
showed me a good suit, cloak, small satin
toque, well-waved hair, and good shoes
(that's a point). Looking closer, I dis-
covered a well-known society woman of
Philadelphia whom I had met in the dark
ages. Everything was exquisite, but not
gaudy, whereas Gloria Swanson does not
even look a lady. She could not. Elsie
Ferguson can and does dress well and even
Constance Talmadge does not miss it very
often. Mary Pickford has improved since
her marriage to Fairbanks, but her clothes
usually lor.k like Fourteenth Street — and
the riding clothes ! ! For pity's sakes !
Send them to Naldi or someone who
knows. And also for the accessories —
such as hats, boots and such like.

Madame Francis dresses Jane Cowl and
I have seldom seen her make a mistake,
but if they want the "Upper Class" to
stop making fun of them, get decent in-
terior decorators, bootmakers, dress-
makers, etc.

I know we only compose about twenty
per cent, of the audiences, but I think we
are the people they want to get at. (At
least they seem to love us in Hollywood
snapshots.) My fingers itch sometimes
to tear down coiffures, rearrange rooms,
change costumes.

Cant you somehow get the director's ear.
Supposed interiors of mansions of the
"400" are a joke. Society women sleep
in linen sheets with maybe lace not satin
and rosebuds. We leave that to another
class. I am personally poor, proud and
dowdy, but when I see what a little intelli-
gent supervision would do, I long to shout
out: "Get some women to the manner
born to help you."

P. A. M.

(TT.M0TI0N PICTURR

IH0I I MAGAZINE \\

SS^Ss?

rfi

,;.,,■

Gas or
Electric

The Lamp

Comes equipped for choice
of gas or electricity. Has

2 • light Benjamin socket
for electricity only, with
8- ft. silk cord ready for 1 >
use; or comes with 6-ft.
rubber hose, burner, man-
tle and chimney for gas.

Mahogany Finish

Standard is 69 in. high,

3 in. in diameter. Highly
polished French mahog-
any finish.

TheShade

Made in Fifth Avenue de-
sign, 24 in. in diameter, of
delft blue silk, shirred top,
alternating plain and fancy
art silk panels. 12 panels in
all, tinsel braid border with
4-in. Chenille fringe. Amer-
ican beauty shirred lining.
The harmonious color
scheme gives effect of red |)
light shining through a blue
haze— a rich warm light.
Shipping weight, 27 pounds.
Mtnhell Silky Friaf* Poll -Cord*
Also pair of Marshall silky
fringe cords with 3H in. silky
fringed tassels, giving an add-
ed luxurious effect.
For en dm. order by No. G6332NA.
For electricity, order by No. G6333NA.
Send only $1 with the coupon. $2
monthly. Total Bargain Price for
lamp and ehado, $19.85.

Free Bargain Catalog

Shows thousands of bargains in
home furnishings: furniture, jew-
lery, rugs, curtains, phonographs,
stoves, dishes, aluminum ware, etc.
All sold on easy terms. Catalog
sent free with or without order.
See the coupon.

DOWN

brings this

Floor Lamp

sXSilkShade

Here is something to add an extra tone of
elegance and luxury to your home. On this
generous offer you can see just how this floor
lamp and silk shade will look in your home,
without risking anything. Send only $1.00
with the coupon below, and we will send it
complete to your home on approval, equipped
for use with either gas or electricity. We
take all the risk.

30DaysTrialj

lllilill

When
the lamp
outfit
comes, use it freely for 30 days. See how beauti-
fully the colorings of the handsome silk shade
blend and harmonize with everything in the
home. How useful it is, too— so handy for read-
ing, can be moved around with ease to furnish a
beautiful light and rich warmth and coziness. to
any room in the house. If after 30 days trial you
decide not to keep the lamp, just return it at our
expense and we will refund your $1.00 deposit,
plus any freight or express charges you paid.
You cannot lose a single penny.

$ 22!L a Month Sif

send only
$2.00 a month until you have paid the total bargain price
of $19.85— yes, only $19,851 Compare this value with any-
thing you could buy locally at anywhere near the same
price — sven for spot cash! Straus & Schram gives you al-
most a year to pay . We trust honest people anywhere inU. S.
No discount for cash; nothing: extra for credit. No CO. iX

Price Slashed!

Decide now to see this beautiful floor lamp
and silk shade in your home on approval on
this price-smashing offer.
Think how the nickels and
dimes slip away for useless
things; save them for some-
thing worth while that will give
satisfaction for years. Send the
coupon with only $1.00 NOW!
Satisfaction guaranteed.

: Straus & Schram, Dept. 1524, Chicago, 111.

Enclosed find $1.00. Ship special advertised
Floor Lamp and Silk Shade as checked
below. I am to have 30 days free trial. If
I keep the lamp, I will send $2.00 a month.
If not satisfied, I am to return the lamp
and shade within 30 days and you are to
refund my $1.00 plus any transportation
charges I paid.

O Com Floor Lamp G6332NA, $19.85
Q Electric Floor Lamp G6333N A, $19.85

Name.

Street, B. F. D.
or Box No

Shipping
Point

Post Office State..

If you want ONLY our free catalog
of home furnishings, mark X here

Treasury Savings Certificates

mature in five years

$4000 Grows to $5000— $800 Grows to $1000— $80 Grows to $100— $20 Grows to $25
Go to your post office or send to the Federal Reserve Bank of New York

United States Government Savings System
97 Maiden Lane Second Federal Reserve District New York City

121

PAfi

-.MOTION PICTURr
01 I MAGAZINE L

How's Your Husband's Disposition?^

Is he irritable, moody, hard to please?

You feel discouraged, hurt — but it is probably all your
own fault! Disposition depends largely on digestion— you
don't cook him well-balanced meals. Fats, vitamines,
carbohydrates, proteins, minerals — all of them are needed
to keep the human machine in good running order. Do
you know which foods contain them? How much pro-
tein, for instance, you should eat in a day? All these
valuable facts on nutrition are given you in

The <7{ew BUTTERICK COOK BOOK

A wonderful new Cook Book that contains not only hun-
dreds of recipes but expert scientific advice on meal planning
and cooking. The very first chapter, "Useful Facts About Food," tells you
how long and at what temperature to cook practically all common foods,
how to render and clarify fat, how to pasteurize milk, how to use eggs for thicken-
ing, etc. Martha Van Rensselaer, Home-Making Editor of The Delineator,
sponsors The New Butterick Cook Book.

1 Useful facts about food.

2 How to buy food.

3 Menus and meal planning.

4 Table setting and serving.

5 Carving.

6 Cereals.

7 Breads.

8 Appetizers.

9 Soups.

10 Garnishes.

11 Fish.

12 Meat.

13 Poultry and game.

14 Stuffings for fish, poultry
and game.

Chapter by Chapter

15 Sauces for fish, poultry and
game.

16 Entrees and made-over
dishes.

17 Meat substitutes.

18 Egg Dishes.

19 Cheese.

20 Vegetables.

21 Salads and salad dressings.

28 Pudding and pudding sauces.

29 Ice-creams and other frozen
desserts.

22 Cookies, doughnuts, ginger-

bread and small cakes.

23 Cakes.

24 Cake filling and frostings.

25 Candies.

26 Fruit desserts.

BUTTERICK PUBLISHING COMPANY
BUTTERICK BUILDING, NEW YORK

Dept. W

Please send me a copy of The New Butterick
Cook Book for which I will pay the postman
$2.65 ($2.50 for the book, 15c for postage)-$2.75
in Canada — when it is delivered to me. My
understanding is that I may return this book after
5 days and have my money refunded if I am not
fully satisfied.

Name

Streer ann No.

City

Stare

122

27 Gelatin and cream
desserts.

30 Pastry.

31 Beverages.

32 Chafing-dish recipes.

33 Casserole cookery.

34 Fireless cooker.

35 French recipes.

36 Foods and beverages for

invalids.

37 Canning.

38 Preserves.

39 Jelly.

40 Drying fruits and vegetables.

41 Pickles and relishes.

42 Foreign words and phrases.

The ^w

BUTTERICK COOK BOOK

Simple as a primer; complete as an encyclopedia

ON SALE AT ALL BOOKSTORES AND BUTTERICK PATTERN COUNTERS
TRADE DISTRIBUTORS— DODD, MEAD & COMPANY, NEW YORK

Or send direct; clip out and mail this coupon

EDWARD LANUEIi PRINTING CO., INC.,
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IT'S OFF

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Not only removes hair —
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ST,

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You may be capable of the most attractive poise;
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During the warm summer days when bathing suits
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For years I have been giving treatments to the most
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the advice not of myself alone, but of beauty special-
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You will be delighted after becoming familiar with
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SEND TODAY FOR FREE BOOK

and Free Samples Massage Cream and Face Powder with
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MADAME BERTHE, Specialist

Dept. 646. 562 Fifth Avenue. New York City

Please send me FREE samples of your Massage Cream and
Face Powder and your Free Book "Beauty's Greatest
Secret," in which leading actresses tell how to be beauti-
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Name

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City and Stale

CREATIONS

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NEW YORK

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^An ^Age-old Secret

Lovely women throughout the ages — women
who swayed men's hearts and had the world
at their feet — knew the powerful fascination
of perfume, and sought the rarest and lov-
liest for their adornment.

Times and fashions change, but perfume
never loses its power to charm and fascinate.
Clever women have always known this, but
the woman of today has learned a new secret.

She chooses a perfume that will harmonize
with her type. She selects it just as she
selects a hat or gown — for its becoming-
ness.

Women of many types have found in
FLORIENT the perfume that suits them
exactly, but if your type demands some
other fragrance, you will be sure to find it
among Colgate Perfumes.

There is a new way to choose your perfume. It is
called the Colgate Perfume Test. Write for the three
trial vials of perfume, perfumers' testing slips and
directions for making the test. Enclose a 2 cent
stamp. Address Colgate &. Co., Dept. 404, 199 Fulton
St., New York City.

COLGATE'S

Perfumes

n/i

V )

n\f\Jl

A BREWSTER PUBLICATION

t )

THE qUALITYMAGAZINE OF THE SCREEN

SEPTEMBER

MAGAZINE
25cts

■ ■

AVaryand DouO

phe MOVIES HAVE A
I LONG WAY TO GO-

says Joseph Herqesheimer

Pages 20-21

ALBERT
VARGAS

MONTE BLUE tell

The Story oPhis Life

Pages 32-33

Every Trace of Superfluous Hair GONE!

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Beautiful eyes, enchanting lips, appealing
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emulated by those of her own sex.

But you can do the same. You can don

the modern bathing suit — if you follow my
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can use short sleeves — if you free your arms
of ugly hair. You can have bobbed hair
and a perfect hair line — if you keep the
back of your neck clean, free of the dark
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clippers or ordinary depilatories are used.

Quick as a Wink

you can free yourself of superfluous hair.
And remember, you are not merely removing
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with the hairs, gently and painlessly and in
this way destroy the growth. The process

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Lasting Results

Mere surface hair removers give only
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Dept. 647, 562 Fifth Ave., New York City

Please send me FREE samples of your Massage
Cream and Face Powder, and your Free Book,
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tell how to be beautiful by using ZIP.

(.Please Print Your Name)

Name

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City and State

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CREATIONS

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NEW YORK

«°K

PICTURr

qA Statement by Porter M. Farrell,

The New President of Philipsbom's

I want every reader of this magazine to
send the coupon below for Philipsbom's
New Fall and Winter Style Book — iust
out. See what the new managers .u of
Philipsbom's has done to bring you the
latest and choicest New York styles, and
the most complete selection of amazing
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Last winter when I took charge at
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"We must let everybody realize that we are
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We believe that in our new Fall and
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Extra Copies FREE!

We have printed a limited number of
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A partial list of the bargains listed in this Style Book

Women's Coats, <

$4.98 to

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House Dresses, •

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Other Dresses, •

2.79 to

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Sweaters, • •

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Women's Hats,

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Shoes,

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r, only a limited number of PVdUpS^ ^ 8 ^?^^ 00 ' 5 ^^^^^ 1

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shown. Send the cou-
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3
PAG

AMOTION PICTURF

01 I MAGAZINE L

^va^^tsJ^^t&^^ta^^ia^yv^itt^i^t&^g^i^

jjLJtjL^b*.

Trad*

NEW PARAMOUNT PICTURES

Produced by Famous Players-.Lasky Corporation

Adolph Zukof and Jesse L. Lasky present
THOMAS MEIGHAN
in "The Confidence Man"

From the story by L. Y. Erskine and RobertH. Davis.

Directed by Victor Heerman.. Screen play by Paul

Sloane. Titles by George Ade.

Adolph Zukor and Jesse L. Lasky present '
"THE BREAKING POINT"

A HERBERT BRENON Production with Nita
Naldi, Patsy Ruth Miller, George Fawcett, Matt
Moore. From the novel and play by Mary Roberts
Rinehart. Screen play by Julie Heme and Edfrid
Bingham.

Adolph Zukor and Jesse L. Lasky present

"BLUFF'

A SAM WOOD Production with Agnes Ayres and

Antonio Moreno. From the story by Rita Weiman and

Josephine L. Quirk. Screen play by Willis Goldbeck.

Adolph Zukor and Jesse L. Lasky present

"TIGER LOVE"

A GEORGE MELFORD Production with Antonio

Moreno and Estelle Taylor. From "El Gato Montes

by Manuel Penella. Screen play by Howard

*SA&.

* ■

Adolph Zukor and Jesse L. Lasky present

POLA NEGRI in "MEN"

A DIMITRI BUCHOWETZKI Production. From

the story by Dimitri Buchowetzki. Screen play by

Paul Bern.

Adolph Zukor and Jesse L. Lasky present
"THE BEDROOM WINDOW"

A WILLIAM deMILLE Production with May
McAvoy, Malcolm MacGregor, Ricardo Cortez,
Robert Edeson, George Fawcett and Ethel Wales.
Story and screen play by Clara Beranger.

Adolph Zukor and Jesse L. Lasky present
"PETER THE GREAT"

A DIMITRI BUCHOWETZKI Production with
Emil Jannings. Manuscript by Sada Cowan and
Ludwig Metzger-Hollands.

Adolph Zukor and Jesse L. Lasky present
"CODE OF THE SEA"

A VICTOR FLEMING Production with Rod La

Rocque and Jacqueline Logan. Story by Byron

Morgan. Screen play by Bertram Milhauser.

Hawks. /*» M'

The final guide to entertainment values in any picture
is not the title or the star or the director, but the thing
which represents a tremendous permanent investment, the
brand name. The good will of millions has made the
leading brand name —

tycuximcHAMtyictures

PRODUCED BY

IF IT'S A PARAMOUNT PICTURE IT'S THE BEST SHOW IN TOWN

Iage.

?$(ir^^<i?^^<ir^fr(?^^(e\&^<<t^-^

A BREWSTER PUBLICATION

Motion Picture Magazine

The Quality JVlagazine of the Screen

SEPTEMBER

{A Complete Table of Contents will be found on page 9)

That Bad Old Man!

WE read regularly in newspaper editorials and magazines of die "growing demand for better
pictures." And we are always told it is the public that is making this demand, and that a
Bad Old Man known as the Producer is always balking the desire of the public.

A stream never rises higher than its source. The source of all motion pictures — good, bad and
indifferent — is the public taste. The supply in motion pictures, as in everything else, is regulated
by the demand. This applies to the quality of the supply as well as to its quantity. So the answer
to those who insist that there is "a conspiracy to corrupt the public taste," on the part of the Bad
Old Man, is obvious : the producers are giving the public exactly what it wants.

You cannot force anything on twenty million people every day in the year that they do not
want. You cannot create a taste for tragedy if your public wants comedy. You cannot put over
satire where your public desires and demands the obvious and the moral.

The motion picture producers have nothing at stake but their pocketbooks. If they could pack
their houses by producing "highbrow" pictures, they would do it. They have tried it and failed.
The Sheik registered one hundred per cent; Peter Ibbetson was practically a failure. The public
knows what it wants — and it is the business of the producers to find out what it wants, not to "raise
its taste."

"Raising the taste" of the public is a laudable ambition, but when it costs three to five hundred
thousand dollars a raise, ambition along these lines is likely to retire.

There is a lot of hypocrisy about this continual hammering at the producers of motion pictures
to give the public (at the producer's expense always) something experience shows it does not
want. How long would a newspaper, a magazine, a theatrical producer or a sporting organization —
not to speak of a department store — last, if it insisted on giving to the public the thing that the
public has no use for?

A production manager of one of the largest motion picture concerns in the world recently said
that his company stood ready to give to the public of America the great stories, poems and epics of
all times in a glorified form — when the public showed a demand for them. He meant by this, of
course, when it paid.

Good doctrine that ! Unless a public commodity pays, it should not be produced. ' And motion
pictures are a commodity. The public is getting what it wants — entertainment.

And there is simply no Bad Old Man at all. He is a myth of hypocrisy and blah.

F. M. Osborne, Managing Editor Harry Carr, Western Representative

Benjamin De Casseres, Contributing Editor A. M. Hopfmuller, Art Director

Published Monthly by the Brewstek Publications, Inc., at 18410 Jamaica Ave., Jamaica, N. Y.

Entered at the Post Office at Jamaica, N. Y., as second-class matter, under the act of March 3rd, 1879. Printed in the U. S. A.
EXECUTIVE and EDITORIAL OFFICES, 175 Duffield Street, Brooklyn, N. Y.

Eugene V. Brewster, President and Editor-in-Chief ; Duncan A. Dobie, Vice-President and Business Manager; George J. Tresham, Circulation Director;
E. M. Heinemann, Secretary; L. G. Conlon, Treasurer. Also publishers of BEAUTY, out on the fifteenth of each month; the CLASSIC, out on the twelfth.

MOTION PICTURE MAGAZINE is issued on the first of the month preceding its date.

Subscription $2.50 a year in advance, including postage in the United States, Cuba, Mexico and Philippines; in Canada, $3.00. Foreign countries, $3.50. Single
copies, 25 cents, postage prepaid. U. S. Government stamps accepted. Subscribers must notify us at once of any change of address, giving both old and new address.

PA/S

AMOTION PICTURp
OBI I MAGA2IUE L

Baintiness . . ,
Youth U

L</se

fere it is -^

a quick, pleasant way
to remove hair/

A Cream! Smooth, cool, harmless.

And as easy to use as powdering

your nose

JUST imagine it! A refined cream that
removes hair — gently and pleasantly as
a true toilet accessory should. No
harshness, no mixing. Nothing to melt.
Merely press from the tube and apply
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Then after a few minutes rinse it off
with ordinary water. The unsightly
hair goes with it. And the skin is left
cool, refreshed, free from odor, whitened
and as smooth as satin.

This new cream is called Pryde. And
now for the first time may be obtained
in sealed tubes, at the modest price of
50c. At toilet goods counters. Or
send in the coupon below.

Harsh or expensive methods,
now unnecessary!

Pryde cream ig a toilet
luxury free from the dis-
couragements of old time hair
removers. Gentlewomen
welcome it, as shown by its
instant acceptance every-
where.

It is so simple. So direct.
And experience proves Pryde
by far the most satisfactory
way.

Authorities indorse and
recommend it. For they
know that just as the nails
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requires it, so should hair
be removed as required by
its growth.

It matters not how much
one may pay, nor how much
time may be required, no
method can do more than
remove hair. Pryde does
that. But with the most
welcome advantage, that it
does it quickly, pleasantly,
all at one time— and at a
cost that is nominal.

Youthful charm
unblemished . . .

Pryde means so much.
Yet it costs so little Obtain
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Store or Druggist. Or send
the Coupon f or a tube in
plain wrapper, postpaid.
Pryde is guaranteed

MAIL THIS

PRYDE PHARMACAL CO. M.P.M.

202 Broadway, Hannibal, Mo.

For the enclosed 50c send PRYDE under
guarantee of satisfaction ox refund, to

Name

Address

City & State

"What Every Woman Should Know",

Complimentary copy included with each order.

Care free!

To be safely care free
at all times one must
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is not only the candor
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Try it. Send for a
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See Coupon below.

Manufacturers, Distributors and Studios of
Motion Pictures

NEW YORK CITY

Advanced Motion Picture Corp., 1493

Broadway
American Releasing Corp., 15 W. 44th

Street
Arrow Film Corp., 220 W. 42nd St.
Associated Exhibitors, Inc., 35 W. 45th

Street
Ballin, Hugo, Productions, 366 Fifth

Ave.
Community Motion Picture Bureau, 46

West 24th St.
Consolidated Film Corp., 80 Fifth Ave.
Cosmopolitan Productions, 2478 Second

Ave.
C. C. Burr Prod., 135 W. 44th St.

Distinctive Prod., 366 Madison Ave.
(Studios, 807 E. 175th St.)

Educational Film Co., 729 Seventh Ave.
Export & Import Film Co., 729 Seventh

Ave.
Famous Players-Lasky, 485 Fifth Ave.

(Studio, 6th and Pierce Sts., Astoria,

L. I.)
Film Booking Offices, 723 Seventh Ave.
Film Guild, 8 W. 40th St.
Film Market, Inc., 563 Fifth Ave.
First National Exhibitors, Inc., 383

Madison Ave.
Fox Studios, Tenth Ave. and 55th St.
Gaumont Co., Congress Ave., Flushing,

L. I.
Goldwyn Pictures Corp., 469 Fifth Ave.
Graphic Film Corp., 729 Seventh Ave.
Griffith, D. W., Films, 1476 Broadway.

(Studio, Oriental Pt., Mamaroneck,

N. Y.)
Hodkinson, W. W., Film Corp., 469

Fifth Ave.
Inspiration Pictures, 565 Fifth Ave.
International Studios, 2478 Second Ave.
Jans Pictures, 729 Seventh Ave.
Jester Comedy Co., 220 W. 42nd St.
Kenna Film Corp., 1639 Broadway
Mastoden Films, 135 W. 44th St.
Metro Pictures, Loew Bldg., 1540

Broadway
Moss, B. S., 1564 Broadway
Outing Chester Pictures, 120 W. 41st

Street
Pathe Exchange, 35 W. 45th St.
Preferred Pictures, 1650 Broadway
Prizma, Inc., 110 W. 40th St.
Pyramid Picture Corp., 150 W. 34th St.
Ritz-Carlton Prod., 6 W. 48th St.
Selznick Pictures, 729 Seventh Ave.
Sunshine Films, Inc., 140 W. 44th St.
Talmadge Film Corp., 1540 Broadway
Topics of the Day Film Co., 1562

Broadway
Triangle Distributing Corp., 1459

Broadway
Tully, Richard Walton, Prod., 1482

Broadway
United Artists, 729 Seventh Ave.
Universal Film Corp., 1600 Broadway
Vitagraph Films, East 16th St. and

Locust Ave., Brooklyn
Warner Bros., 1600 Broadway
West, Roland, Prod. Co., 236 W. 55th

Street
Whitman, Bennett, Prod., 537 River-
dale Ave.

OUT OF TOWN

American Film Co., 6227 Broadway,

Chicago, 111.
Bennett, Chester, Prod., 3800 Mission

Rd., Los Angeles, Calif.
Chaplin, Charles, Studios, 1420 La Brea

Ave., Los Angeles, Calif.
Century Comedies, 6100 Sunset Blvd.,

Hollywood, Calif.
Christie Film Corp., 6101 Sunset Blvd.,

Hollywood, Calif.
Commonwealth Pictures Corp., 220 So.

State St., Chicago, 111.
Coogan, Jackie, Prod., 5341 Melrose

Ave., Los Angeles, Calif.

Dean, Dinkie, Prod., 5617 Hollywood

Blvd., Hollywood, Calif.
Famous Players-Lasky Studios, 1520

Vine St., Hollywood, Calif.
Garson Studios, Inc., 1845 Glendale

Blvd., Los Angeles, Calif.
Goldwyn Studios, Culver City, Calif.
Grand-Asher Prod., 1438 Gower St.,

Hollywood, Calif.
Graf Prod., Inc., 315 Montgomery St.,

San Francisco, Calif.
Hart, William S., Prod., 6404 Sunset

Blvd., Los Angeles, Calif.
Ince Studios, Culver City, Calif.
Laurel Productions, Hollywood Stu-
dios, Hollywood, Calif.
Lloyd, Harold, Studios, 6642 Santa

Monica Blvd., Hollywood, Calif.
Mayer, Louis B., Studios, 3800 Mis-
sion Rd., Los Angeles, Calif.
Metro Studios, 1025 Lillian Way, Los

Angeles, Calif.
Pathe Freres, 1 Congress St., Jersey

City, N. J.
Pickf ord - Fairbanks Studios, Holly-
wood, Calif.
Ray, Charles, Studios, 1425 Fleming

St., Los Angeles, Calif.
Roach, Hal E., Studios, Culver City,

Calif.
Robertson-Cole Studios, 780 Gower St.,

Los Angeles, Calif.
Roland, Ruth, Prod., Culver City, Calif.
Sawyer-Lubin Prod., 6912 Hollywood

Blvd., Hollywood, Calif.
Schulberg, B. F., Prod., 3800 Mission

Road, Los Angeles, Calif.
Sennett, Mack, Studios, 1712 Glendale

Blvd., Los Angeles, Calif.
Sol Lesser Prod., 7250 Santa Monica

Blvd., Hollywood, Calif.
Stahl, John M, Prod., 3800 Mission

Rd., Los Angeles, Calif.
Tiffany Productions, Goldwin Studios,

Culver City, Calif.
Tourneur, Maurice, Prod., United Stu-
dios, Los Angeles, Calif.
Talmadge Prod., 5341 Melrose Ave.,

Los Angeles, Calif.
United Studios, Inc., Los Angeles, Calif.
Universal Studios, Universal City,

Calif.
Vitagraph Studios, 1708 Talmadge St.,

Hollywood, Calif.
Warner Bros. Studios, Bronson Ave.

& Sunset Blvd., Hollywood, Calif.
Weber, Lois, Prod., 6411 Hollywood

Blvd., Hollywood, Calif.
Wharton, Inc., Ithaca, New York

w ,-iirflON PICTUR

ell I MAGAZINE

Only Elinor Qlyn Would Dare

to mite a Book Like This!

Elinor Glyn, author of "Three Weeks," has written a sensa-
tional novel called "The Price of Things." This book will
amaze all America! Small-minded critics will claim that
Elinor Glyn should not have dared touch such a breath-taking
subject — that she has handled a delicate topic with too much
frankness. But we want you to read the book before passing
an opinion. This you can do at our risk — without advanc-
ing a penny!

"The Price of Things" is
one of the most daring
books ever written — !

"The Price of Things" is
one of the most sensational
books ever written — !

"The Price of Things" will
be one of the most fiercely
criticized books ever writ-
ten—!

Warning!

The publishers posi-
tively do not care to
send "The Price of
Things" to anyone
under eighteen years
of age. So unless you
are over eighteen,
please do not fill out
the coupon below.

BUT — we don't ask you to
take our word for all this.
Simply send us your name and we'll send
you the book. Go over it to your heart's
content — read it from cover to cover — let
it thrill you as you have never been thrilled
before — then, if you don't say it is every-
thing we claim — and a lot more! — simply
mail it back and it won't cost you a penny.
Isn't that fair?

YOU'VE heard of Elinor Glyn— every-
one has. She is unquestionably the
most audacious author in the world. Her
last great success, "The Philosophy of
Love," was said to be the most daring
book ever written. Her sensational novel,
" Three Weeks," amazed the whole world
a few years ago. But "The Price of Things"
is far more daring than "The Philosophy
of Love" and much more sensational than
"Three Weeks." Need more be said?

After you have read "The Price of Things"
you will understand why Elinor Glyn is
called the most daring writer in the world.
You will see that she is the only great living
author who dares reveal the truth about
love — in defiance of silly convention and
false hypocrisy. Madame Glyn never
minces words — she always calls a spade a
spade — she doesn't care a snap of her
fingers what hypocritical people think.
And it is just this admirable quality
in her writing — this fearless frankness,
utter candor, and resolute daring — which
makes her the most popular writer of today !

THE books of most French and English
novelists are "toned down" when pub-
lished in America. Not so with "The Price
of Things." This book comes to you ex-
actly in the form in which it was first pub-
lished — nothing has been taken out— we
have not censored the book — everything
is there!

Here is a book that will open your eyes!
Each succeeding chapter grows more
daring. From the Magic Pen of Elinor

Glyn flows a throbbing
tale of audacious characters,
startling incidents, sensational
situations, daring scenes, thrill
after thrill ! Oh ! what an amaz-
ing story it is — the like of
which you never dreamed of!

"The Price of Things" will
not injure anyone. On the
contrary, it clearly and un-
mistakably emphasizes a great
moral truth. It proves con-
clusively that if you violate any law of
society, no matter whether you think that
law right or wrong, you must pay the
price.

This Book May Shock
Some People!

NARROW-MINDED people may be
shocked at "The Price of Things!"
They will say that it is not fit to be read.
But this is not true. It is true that
Madame Glyn handles a delicate topic
with amazing frankness, and allows her-
self almost unlimited freedom in writing
this burning story of love. Still the story
is so skillfully written that it can safely be
read by any grown-up man or woman.
Furthermore, Madame Glyn does not care
what small-minded people say. And she
doesn't write to please men and women
with childish ideas and prudish sentiments.
She always calls things by their right
names — -whatever phase of life she writes
of, she reveals the naked truth. And in
"The Price of Things" she writes with
amazing candor and frank daring of the
thing she knows best — the greatest thing
in life — Love!

SEND NO MONEY

YOU need not advance a single penny
for "The Price of Things." Simply fill
out the coupon below — or write a letter —
and the book will be sent to you on ap-
proval. When the postman delivers the
book to your door — when it is actually in
your hands — pay him only $1.97, plus a
few pennies postage, and the book is yours.
Go over it to your heart's content —
read it from cover to cover — and if you
are not more than pleased, simply mail
the book back in good condition within
five days and your $1.97 will be refunded
gladly.

Elinor Glyn's books sell like magic — by the

mosit

sensational

novel ever

written

million! "The Price of Things," being the
most sensational book she has ever written
— and that's saying a lot! — will be in
greater demand than all others. Every-
body will talk about it — everybody will
buy it. So it will be exceedingly difficult to
keep the book in print. We know this
from experience. It is possible that the
present edition may be exhausted, and you
may be compelled to wait for your copy,
unless you mail the coupon below AT
ONCE. We do not say this to hurry you
— it is the truth.

Get your pencil — fill out the coupon NOW.
Mail it to The Authors' Press, Auburn,
N. Y., before it is too late. Then be pre-
pared to read the most sensational novel
ever written!

The Authors' Press, Dept. 509,
Auburn, N. Y.

Send me on approval Elinor Glyn's ■
sensational novel, "The Price of I
Things." When the postman delivers |
the book to my door, I will pay him
only $1.97, plus a few pennies postage. I
If the book is not satisfactory, I may I
return it any time within five days J
after it is received, and you agree to I
refund my money. |

De Luxe Leather Edition— We have prepared a Limited Edi-
tion, handsomely bound in Royal Purple Genuine Leather and
lettered in Gold, with Gold Tops and Purple Silt Markers. No
expense spared — makes a gorgeous gift. If you prefer tbis
leather edition— as most people do — simply sign below,
place a cross in the Httle square at the right, and pay
the postman only $2.97 plus postage.

Name I

I
Address , |

City and State I

IMPORTANT— If it la possible that you may not be at home i

when the postman calls, send cash in advance. Also if you re- I

side outside the U. S. A., payment must be made in advance; '

Regular Edition, S2.ll. Leather Edition, $3.11. Cash with I
coupon.

PAGli

AMOTION it'ICTURP
■Bl I MA6A2INE «-

'NOW COMES THE GREATEST OF ALL

Al and Raj Rockett's

Abraham Lincoln

POSSESSING so many elements of
entertainment that everybody finds
something different in it to admire
and applaud and remember long after-
ward.

Since its triumphant national premiere in
Washington a short while ago, hundreds
of unsolicited encomiums have been re-
ceived. A few are quoted at random:

iAJL.

ABRAHAM LINCOLN A BRAHAM LINCOLN

Better than "The "Hitherto, our stand-
Birth of a Nation" ard of superlative
films was 'The Birth
of a Nation.' I am afraid the Rocketts' Lin-
coln has set a new high-water mark in our en-
thusiasm." — Frederick William Wile, {Inter-
national Correspondent).

Thrills "Full of thrills and pathos, it engages
Pathos your attention throughout with keen
anticipation." — .9. F. Glatfelter, {Con-
gressman — Pennsylvania).

Strikingly "It is a wonderful picture, and
Realistic strikingly realistic." — E. T. Clark,
{Secretary to the President).

Fires "It touches the heart and fires

Imagination the imagination." — Edwin
Mark ham, {The poet).

Holds "From beginning to end, the

Spellbound picture holds the audience
spellbound. "■ — Martin B. Mad-
den, {Congressman— Illinois).

Remarkable "It is a remarkable production.

Production I wish every citizen of the

LFnited States could see it at

once." — Oscar E. Bland, {Judge U. S. Court of

Customs Appeals).

Stupendous "Stupendous! Beyond a doubt
the greatest picture I have ever
seen." — R. A. Hearn, (A Southerner).

JUBes^rjglCapfi^^

Sweet
Love Story

"I was very glad you brought
the sweet story of Anne Rut-
ledge into the picture. I be-
lieve we never would have had the Abraham
Lincoln we loved — the tender, gentle, merciful
and sympathetic Lincoln — if he had not loved
wildly and madly, even as you and I." — Richard
Yates, {Congressman — Illinois).

Aesthetic "The aesthetic appeal of the pic-
Appeal ture will educate our people to a

finer appreciation of beautiful
things." — Dr. John J . Tigert, {Commissioner of
Education).

Touches "Makes a direct appeal to the heart
Heart that cannot be resisted by any type
of theatregoer." — Frank Morse,
{Banker).

Better than
Drinkwater

ford, {Attorney).

Makes
People Think

"Gripping from first to last. It
is infinitely better than Drink-
water's play." — W. H. Craw-

"An absorbing, stirring pic-
ture. It will make people
think. We need more like

it." — Edna M. Colman, {National President

League American Penwomen).

Wonderful "I never expected to see

Impersonation Abraham Lincoln — living,
walking and talking, as he
seemed in your picture." — Dr. Nellie Hooper
Barrett.

Jsk your theatre manager right cMay~When he WillshowMmhamtincolri

A 3irat national IHcture

Scenario by
FRANCES MARION

Directed by
PHILIP ROSEN"

AUG -a 1924

©C1B622365

Motion Picture Magazine

(Trade-mark Registered)

Founded b$ J. Stuart Blackton in 1910

SEPTEMBER, 1924

Vol. XXVIII

Number

THIS NUMBER CONTAINS:

Portraits and Picture Pages

Mary and Doug — A painting by Albert Vargas from a photograph by Campbell Studios Cover

Our Portrait Gallery — Exclusive studies of nine motion picture stars. .' 11-19

Romola — A new portrait of Lillian Gish 22

Tess of the D'Urbervilles — A new portrait of Blanche Sweet 23

A Glorified Gloria — Two studies from Miss Swanson's latest picture 26

"Parting is Such Sweet Sorrow" — Love scenes from new films 34-35

The Woman You Cannot Bluff — F. Vance de Revere, Character Analyst of the screen stars

The Girl Who Captures His Heart — A study of Rudolph Valentino and Helen d'Algy, the heroine of his new picture.

Mrs. Rudolph Valentino — Our Lady of Many Talents

Do You Believe in "Hunches"? — Studies of Ramon Novarro as Ben Hur

The Richest Woman in the World — Irene Rich. and her children

Dick and His Mother — An exclusive portrait of Mrs. Barthelmess and her son

Daddies All! — Two pages of pictures of the screen actor-fathers, with their children 64-65

Feature Articles

"The Movies Have a Long Way to Go" — What Joseph Hergesheimer said to Melville Breen 20-21

Our Own Little K-K-Klan — Doris Kenyon tells tales on Madge Kennedy 24-25

The Realtors of Filmland — Who's who among the landowners of Hollywood by Harry Carr 27-29

The Story of My Life — Monte Blue gives us his autobiography 32-33

What I Can Read in the Faces of the Film Stars —

An analysis of the Talmadges, Conway Tearle, and Colleen Moore by F. Vance de Revere 42-43

Mary Carr and the Wasted Generation —

The greatest movie mother of them all talks about the modern youth by Helen Carlisle 62-63

Going to the Movies Over There — How it is done in France, England and Germany by Gretchen Dick 68-69

For Light Entertainment

The Movie Villain — Pieces of Hate by Helen Carlisle, illustrated by Eldon Kelley 30-31

The Girl Who Couldn't Be Bad— Part III of our serial by Henry Albert Phillips 36-39

Behind the Screen with Two Greenhorns —

Margaret N orris recounts her first experience in a studio and Helen Hokinson illustrates it 46-47

Dont Deceive Your Children — Rachel Crothers' play, Mary the Third, told as a short story by Peter Andrews 48-52

Vaudeville and the Screen— Why they do not conflict by Walter Haviland 118

Departments

That Bad Old Man!— An editorial

Directory of Manufacturers, Distributors and Studios of Motion Pictures

Adventures Off-Scene — With Benjamin De Casseres

Critical Paragraphs About New Productions by the Editorial Staff

That's Out — Keen Comment by Tamar Lane

On the Camera Coast — News about Stars and Studios in the West by Harry Carr

Trailing the Eastern Stars — In and out of the studios by Dorothea B. Herzog

Letters to the Editor — An open forum for the readers

The Answer Man — Replies to inquiries from the fans

54-57

60-61

66-67

70-71

"vMOTION PICTURF
01 I MAGAZINE I-

<yi Sensitive Skin
should be cleansed
this special way t

Once in a while a woman will
tell you, "I never use soap and
water on my face. My skin is
too sensitive."

It was an old superstition that
washing the face with soap was
irritating to a sensitive skin. But
today scientists have discovered
that the real danger to a sensitive
skin is dirt.

Dirt irritates and inflames —
increases natural irritability —
even causes skin disorders, by
carrying bacteria and parasites
into the pores. If your skin is of
the very sensitive type, be sure,
first of all, to keep it clean — free
from the layer of dirt and natural
oil that accumulates inevitably
when soap is not used.

Use the following method of
cleansing to keep a sensitive skin
smooth and soft, yet healthily
resistant:

Each night, just before you go
to bed, dip a soft wash cloth
in warm water and hold it to
your face. Then make a warm
water lather of Woodbury's
Facial Soap and dip your cloth
up and down in it until the
cloth is "flurry" with the soft
white lather. Rub this lathered
cloth gently over your skin
until the pores are thoroughly
cleansed. Rinse well with
warm, then with clear, cool
water and dry carefully.

If your skin is sensitive and easily irritated,
it needs especially to be protected against
dust. Dust increases natural irritability,
and is a real danger to a sensitive skin.

Woodbury's
Facial Soap is
based on a special formula, the
result of years of scientific study
of the skin and its needs. Only
the purest and finest ingredients
enter into this formula. In con-
sequence, Woodbury 's Facial
Soap can be used with extremely
sensitive and tender skins, which
often react unfavorably to other
toilet soaps.

Get a cake of Woodbury's
today, and see what an improve-
ment its regular use will make in
your complexion. Around each
cake is wrapped the booklet of
famous skin treatments, "A Skin
You Love to Touch. "

A 2 5 -cent cake of Woodbury's
lasts a month or six weeks for

regular toilet use, including any
of the special Woodbury treat-
ments. Woodbury's also comes
in convenient 3 -cake boxes.

Send 10 cents for a trial-size set

of three famous Woodbury

skin preparations

The Andrew Jergens Co.

1309 Spring Grove Ave., Cincinnati, Ohio
Forthe enclosed lOcents — Please send me a mini-
ature set of the Woodbury skin prepara-
tions, containing :
A trial-size cake of Woodbury's Facial Soap
A sample tube of Woodbury's Facial Cream
A sample box of Woodbury's Facial Powder
Together withUhe treatment booklet, "A Skin
You Love to Touch. "

If you live in Canada, address The Andrew
Jergens Co., Limited, 1309 Sherbrooke St.,
Perth, Ontario. English Agents: H. C. Quelch
& Co., 4 Ludgate Square, London, E. C. 4.

Name

Street

City State

Cut out this coupon and send it to us today !

With Tributes by Faith Baldwin

Sasha, London

MARJORIE DAW

TJERE'S Youth . . . that looks from eyes which keep

Eternal wonder, wistful-deep
With Youth's own light, with laughter wise,
As if, new-born to happy skies,
The youngest star, all golden gay,
Went dancing down the Milky Way

On little, questing, gilded feet

To which the drums of Springtime beat!

Her very name's as quaint and dear

As rhymes which bring all childhood near,

And, watching her, our pulses know

The warmth of morning sunlight's glow.

Melbourne Spurr

LLOYD HUGHES

YOUTH calls to Youth with laughter and delight,
With hoping wistful and with promise bright,

The world around,
And when this shadow on the screen is flung
Old hearts remember songs they once have sung,

In echoed sound.

But young hearts sigh with pleasure, for he seems
The living symbol of their secret dreams,

Gallant and gay,
And thus to him, Prince Charming, they make prayer
To all that's young and dear and debonair,

In Youth's own Way.

Edwin Bower Hesser

JACQUELINE LOGAN

ROUNDED throat and flower face,
Curling hair and winsome grace,
Laughing lips and wistful eyes,
April smiles . . . and April sighs . . .
Jacqueline !

All the world a golden street
Spread before her little feet,
Scarlet mouth shaped to a kiss,
Tell me, someone . . . who is this?
Jacqueline!

Nickolas Muray

EDMUND LOWE

]\JOW, all the gods be praised that in a day

To languor and to boredom dedicate,
They gave one man a better part to play
And, like sea-winds that blow the fog away,
Cave also strength . . . which once was man's estate

Fine head, keen eyes, and humor ...-clever hands

Whose gestures threaten, promise Or caress,
He lives his dramas, and he understands
The hidden lure of glad adventure's lands
Of battles, bugles, damsels in distress.

Now, all the gods be praised for him anew,
These modern days in which real men are few.

■

Photograph by Edwin Bower Hesser

WANDA HAWLEY

pEACHES and cream, and a rose for a mouth,
Hair like the sunshine that blesses the South,

Golden as Dawn o' the Day;
Gentian-blue eyes that enchant and beguile,
Shining as dewdrops their elfin, blue smile,

Springlike their message as May! .

Hers is the magic that Eden once knew,

A colorful magic . . . rose-pink, golden, blue . . .

A magic of flowers and pearl;
For blondes have a way with them solely their own,
And here is a blonde with our hearts for a throne —

A golden and glorious girl!

Frank Bangs

MAY McAVOY

gHE makes me think of still, tree-bordered streets ;

Of sunny gardens where the bright birds sing

At dawning tide;
Of fairy-tales, of twilight, and of sweets
Like bread-and-honey; and of everything

With Youth allied.

She somehow seems the dearest girl one knows,
The "nicest girl in town," whose gentle ways

To all endear;
Half happy human, and half budding rose,
With love and truth to light her pleasant days

Bright crystal-clear.

Alfred Cheney Johnston

MARION DA VIES

HTHE royal cadence of her beauty sings

Of palaces and princes; of an age
When life was lifted on Romance's wings

And Knighthood claimed Adventure for a
page!

She has that loveliness which Homer hymned
When Helen smiled, the breathless world
to stir;

Above her path, in magic light, undimmed,
The star of Venus guides all hearts to her!

Henry Waxman

FLORENCE VIDOR

QHE is that rare thing in a tawdry age . . .
Grande dame ... a fair, illuminated page

From chapters of an older, nobler day;
Her quiet hands and lovely, still restraint
Reveal good-breeding as her patron saint,

To whom, alas, few of us moderns pray!

She has a grace like music, and a sweet
Enduring charm, and great eyes that entreat

For courtesy and worship and fine things;
And in her face we watchers seek and find
That beauty of the balanced soul and mind

Transcending lovely flesh like lifted wings.

(*)H, it's the come-hither

that lurks in his

eyes,
And the way that he

has with a gir),
While the feminine half

of the audience

sighs
That his hair knows

the trick of a curl!

Oh, 'tis virile he is, with
his laughin', bold
ways,
As befit6 one on whom
Fortune smiled,
At wooing or fighting
'tis you he'd amaze
And 'tis tender he is
with a child.

He seems just the dar-
ling of life and of
fate,
Such a broth of a boy
all the way,

His hand on the latch of
Romance's gold
gate-
Well — the Lord loves
the Irish,. they say!

Russell Ball

TOMMY MEIGHAN

"Trie Movies Have a Long Way To Go

Before The;9 Reach Anything Like Perfection"

Said JOSEPH HERGESHEIMER

When he Was interviewed by Melville Breen

HERE
no excuse
for creat-
ing a movie

unless you can make

it appeal to one million

people. A book is

different. It is worth-
while if it is enjoyed

by five thousand

readers. I write

books. What should

I know about movies ?

However, under di-
rect cross - examina-
tion, I might admit

that I have a few

ideas about this husky

infant industry. As

I recall it, a few of

my creations have

slipped across the

screen — Tol'able

David, Wild Oranges

and Cytherea.

"This changing of

a novel into a movie

is tricky business.

You take the book

you have written for

a certain clientele —

most of whom bor-
row the book from a

friend, so there's no

money lost if they

dont like it — and the

mournful thought

comes into your

mind: 'Here, I've got

to fix this thing so it

will have a kick for

the person who likes

to read captions

aloud, as well as for

the one who slides a

volume of James

Branch Cabell into

his pocket to read to

and from the show.'

But what is more,

you've got to keep

enough of the original story so you'd recognize it if it

happened to come into the Algonquin for lunch.

"The first thing to do is to anesthetize either the book

or yourself, and remove quickly and painlessly all intel-
lectual flights, but preserve all the emotion; the more

emotion, the more fervently does the box-office man

shake you by the hand. Make it simple, simpler, simplest

— a story that will run along smoothly with a natural

expansion. And treat that expansion tenderly, nourish

it and pamper it, for how the footage does eat it up!

Dont pad. Of course,
you can always throw
in a couple of mob
scenes or a society
ball, or, that is, a ball
that the producers
think that the public
will think is a society
ball. Probably, if a
bona fide society
affair were thrown
on the screen, nobody
would believe it.
They would be wait-
ing for the goldfish
to get drunk on the
champagne that had
been dumped into the
fountain along with
several of the de-
butantes.

"In passing this so-
ciety point I might
say that the suave
and delicate acting of
Lewis Stone, as well
as the way his coat
collars fit, could give
a few hints to New-
port.

"All of which is
very interesting but
tells nothing about
creating movie char-
acters. Well, I've
said 'simplify your
story.' Do the same
with your characters.
You cant, as in a
book, wander on for
several pages and tell
what your characters'
mental reactions are
to certain situations ;
that has to be ex-
pressed by direct
action — in other
words; emotion. See
if you can express
with a gesture, shrug
or expression what
you have been thinking for five minutes when you are
furiously angry or otherwise mentally disturbed. Not so
easy. I think Irene Rich, as the wife in Cytherea, did
some of the best acting of this type that I have ever seen.
She overcame a difficult part, and showed that she had
character below a rather colorless exterior ; yet her acting
was simplicity itself.

Richard Barthelmess also has the art of presenting
a part in a simple, restrained way. That is the reason
he stands in the front line of movie luminaries. No

Henry Waxman

TESS OF THE D'URBERVILLES
A dramatic study of Blanche Sweet as Tess, the prisoner

23
P AG

A study of Madge Kennedy by Lucas-Kanarian

Doris: How can you
expect to play a half-
way decent game of golf
in that costume — and
high heels, too!

Victor Georg

Madce: But I'm not play-
ing golf, I'm posing ■ it —
and my costume will look
a lot better in
a photograph
than yours
will!

Our Ov0n

Little
K-K-Klan

In which one member of the Klan

of Kenton and Kennedy tells

.tales on the other

DORIS KENTON

IT began this way : The scene was an editor's living-
room. Many books and magazines were lying
about, but the editor herself looked anything but
literary. She was eating chestnuts.
Suddenly, from the depths of a huge armchair a
Tall Young Man spoke : "Great Guns ! You're not
going to let her do an interview with Madge Kennedy,
are you?" (Meaning me.)

"Why not?" asked the editor, cracking a large and
stubborn chestnut. "I think it would be — unusual."
"It would!" conceded the Tall Young Man. "It
would be composed entirely of mushy, gushy, sweetly
sentimental adjectives, all that could be culled from the
dictionary and Roget's Thesaurus. It shouldn't be
allowed."

"No," I protested weakly from my perch on the
living-room table, "I'll be fair and square and sane and

unprejudiced, even tho
and
for
and

I do adore Madge,
have adored her
years. Just wait
see."

"All right," said

editor, finishing the last chestnut, "we'll wait and see."

And that ended that !

So I begin this story about my best friend under diffi-
culties. Ordinarily, I can make myself look at people, for
whom I care a great
deal, from a rather
detached viewpoint. I
admit their little
weaknesses and short-
comings, and try to
understand them.
But with Madge Ken-
nedy, I admit noth-
ing. I fiftd myself
refusing to look for
faults, even refusing
to acknowledge that
she possesses them.
All I can sense is her
amazing personality,
her tolerance, and her broad and
beautiful understanding. There !
Already I'm going strong and the
interview not even begun!
• But I hate interviews —
stereotyped ones. I think I
shall tell you about a day
we spent together very
recently, instead.

T t was a late summer
day when we set
out for Sleepy Hoi- j
low Club in Madge's
beautiful, beautiful
car. We were on
our way to play
a photographer's
game of golf.
Which means that
we would arrive at
the club, hire a
caddie, give direc-
tions to our photog-
rapher, and have
pictures made of
ourselves in various
studied golfing poses.

I wore my golfing
best, altho I play but
indifferently. Madge
admitted that her cos-
tume was all wrong — as
wrong as her golf, which
she frankly loathes.

Unlike most girls nowa
days, Madge does not -"go in"
for sports. "About the only exer-
cising I do," she confesses, "is set-
ting-up exercises, if I find I. am putting
on weight, which doesn't often happen. I
love nature and love to be out of doors, but
it does me much more good and rests me far
more to sit quietly and enjoy nature, than to play golf or
tennis or any of the things that take my mind from the
beauty all around me."

"We'll just clown the pictures, Doris," she said ; "so the
more inappropriately I'm dressed, the more ridiculous
they will be."

We didn't play much golf, but we furnished consider-
able entertainment to onlookers, wore out two or three
caddies, and stretched the patience of the cameraman to

Editor's Note. — Doris Kenyan and Madge Kennedy are
outstanding figures in the world of the drama today. Both
have beauty, charm, youth, and extraordinary talent; both
arc equally successful on the stage and screen. When the
call of the picture fans becomes too insistent, they exchange
the footlights for the Kleigs — and then hie them back to
Broadway when the stage fans call. Miss Kennedy will
probably return to the screen this winter; Miss Kenyon
returned last spring, as the exquisite Lady Mary Carlisle in
Rudolph Valentino's new picture, "Monsieur Beaucaire."

the breaking point because we would insist upon sitting Y
down right in the midst of everything to talk about some-
thing we had forgotten to discuss on our way there. But
we managed to produce evidence (photographically)

that we do know how
to play golf, whether
we like it or not.

It was a gloriously
happy day. But the
best part was the ride
to the club and back
when we were all by
ourselves. Just to
listen to Madge talk
is soothingly pleas-
ant. It is like music
suggested by the
theme of her face.
There I am — slipping
again! But the out-
standing thing in my memory of that
day is the satisfying talk we had —
inconsequential chatter, most of it,
of the quality and quantity that
girls can crowd into a few
hours.
We talked of Poppy, the
play in which Madge
starred so successfully
this past year, and it
was like her to give all
credit for its success
to the supporting
cast. She spoke in
glowing terms of
W. C. Fields, who
•enacted the role of
the vagabond
father, of his love
and kindliness for
humanity, a nec-
cessary qualifica-
. tion, she believes,
for a great come-
*Ht *<2£---r ■ dian. The girls

were all such

"dears," she said,

"and the boys fine —

every one of them.

"Ever since I have

been on the stage, Doris,

I've been amazed at the

fact that I am able to

earn my living by doing

something that doesn't seem

like work at all. That doesn't

apply to making motion pictures,

however. Whenever I make a

picture I know definitely that I am

working, and working hard. But I

always have been able to make of my

Victor Georg stage self a distinct personality, entirely

detached from my real self which merely looks

on, and waits. So, when the play is over, there I am,

serene as you please!"

f~\i course, .we talked about music and what it means
^-^ to both of us — of our studies and progress. We
discussed our French teachers and their methods. We
waxed enthusiastic over Geraldine Farrar, a mutual
favorite. We talked of the new books, which neither of
(Continued on page 86)

25
PAfi

A Glorified Gloria

v C

Gloria Swanson is the
"mystery woman" of
the movies. She oc-
cupies a unique place
in the film world be-
cause no other actress
has been able to imi-
tate her. But,
strangest of all, she
is never her own imi-
tator. In no two
pictures she has
made, has she ever
been the same Gloria

On this page we re-
produce two scenes
from Miss Swanson's
latest picture, Her
Love Story. Here you
see an entirely new
Gloria — the lovely,
aristocratic, sensitive
schoolgirl. Above,
she sits demurely em-
broidering, while her
duenna reads to her;
below, she is a wide-
eyed child, startled
by some strange sound

The Realtors
of

Filmland

HARRY CARR

Above, Harold
Lloyd is watch-
ing the construc-
tion of one of his
many buildings
in Los Angeles

At the right,
Agnes Ayres, who
is the Queen of
all Realtors, and
Cecil De Mille,
who is the King,
are disclosing to
each other the
facts and figures
of their land
investments

MAGINE having Agnes
Ayres for a landlady ... or
Tony Moreno for a land-
lord!

Imagine seeing a beauteous
dream-lady, like Viola Dana, in a
screen love story and saying to
your next seat neighbor, in a
blase, careless tone: "That there
young lady in that there feller's
arms has promised to get me a
new stopper for the bathtub; ours
is worn out . . . leaks."

For in fact and in truth the
sprightly Viola and the talented
and pulchritudinous Agnes are in-
deed landladies. And there are
many others. The tradition which
insists that the landlady is always
a fat woman with a red nose and

Conrad Nagel is a regular farmer, and his huge ranch at

Duarte, near Los Angeles, represents the killing he made in

the real-estate boom

a screeching voice, will have to be revised so far as
Hollywood is concerned.

A lot of famous stars in Hollywood are not only land-
lords, but realtors— regular Babbitts. Sometimes, at a
Hollywood dinner, when high art and psychoanalysis
have died as dinner topics, someone mentions real estate
options. Then they all sit up and lick their lips with
excited anticipation.

Nothing just like this Hollywood real estate boom
ever happened in the world before. It was more like the
Klondike gold rush than anything else I ever
heard of — with this important difference :
The rewards in the Klondike were
for the lucky ones. A year ago
in Hollywood you didn't have to
be lucky. You couldn't lose.
The boom seems to have waned
now. But with the waning, it
has left many new fortunes in
the film colony. Not only the
stars either. Stage hands, cut-
ters, even sewing girls in the
studio wardrobe departments,

have grown rich in real estate.

I know a cutter in the
Talmadge studio who had to find
a new house because his wife
was about to have a baby. His
landlord told him that he wasn't
going to have any scandalous
birds like storks around his
house. So the cutter had to dig
around and find a new abode.

Out on Melrose Avenue he
found a house he could buy for

PAG

Cfsvw^

Soon after Aileen Pringle built this home, there was a stunning advance in the

value of the property

four thousand dollars. They wanted two hundred and
fifty dollars down ; the rest could be paid like rent. The
cutter had fifty dollars in cash and two hundred dollars'
worth of liberty bonds. Before he had paid off the four
thousand dollars "like rent," he was offered sixty thou-
sand dollars cash for the house, and refused it.

A lot of them have cleaned up fortunes ; but I imagine
that Agnes Ayres is the queen realtor of them all.

Her experience sounds like a miracle. She didn't have
any more money than the Talmadge cutter when she
started out. She was then getting fifty dollars a week at
the Lasky studio. Altho it was very hard, she compelled
herself to save fifty dollars a month from this salary.

She and her mother were at that time living in a' rented
bungalow in Hollywood. Someone called her attention
to the fact that she could make a small payment down on
a bungalow; she could then buy it on the instalment plan
for just what her rent was costing. Accordingly she put
down her first five hundred dollars and became a landed
proprietor.

When they raised her
salary at the studio she
made a first payment on
a second bungalow, and
rented it to another
movie girl. The rent
paid the instalments as
they came due, so she
virtually got her second
house for the five hun-
dred dollars' initial pay-
ment.: her tenant bought
the house for her.

From this she edged
her way into realty. Her
Scotch sagacity told her
that the opening and
paving of Laurel Canyon
(T\ would create a new

r 28

lA0£

settlement at Gardner 'Junction
at the edge of Hollywood. She
bought some cheap property
there and, when the boom
came, as she had foreseen, the
bank was glad to let her have
the money to build an apart-
ment-house. Her rents from
the apartment-house helped to
build a second apartment-
house. And so her fortune
builded.

Miss Ayres is a rich woman
now — a fortune built from
nothing in four years. She has
two business blocks at Santa
Monica ; two apartment-houses
in Hollywood and valuable
harbor property out at San
Pedro, the naval base.

"Real estate," she says, "is a
cinch for any girl whose
finances have compelled her to
hunt bargains in department-
stores. It's the same thing. I
go prowling around among my
neighbors and talk to every-
body I meet. That way I hear
about bargains. You cant make
any money out of real estate
sitting in a house and waiting
for the money to come up the
street to you in a basket."
Another real estate sensation in Hollywood is Harold
Lloyd. And Harold has gone about it in exactly the
opposite way. Among his possessions were an uncle and
a father. Both were business men. His uncle, I believe,
had been an efficiency man in a big railroad corporation.
Harold mobilized them. He digs up the money by play-
acting for motion pictures ; and Pa and Uncle find some-
where to put it.

They devote their whole time to his investments. Not,
however, that Harold is an innocent child in relation to
finance. He is, in fact, an exceedingly shrewd business
man, with great financial sagacity. Not a nickel is

invested by his Uncle and
Father that has not been
passed upon by Harold
himself.

Since Viola Dana
bought the Foothill
Garage and put her
chauffeur in as super-
intendent, the place
has more than doubled
in value

tfTMOTION PICTURR

IneH I MAGAZINE j\

Last year, he made one of the big clean-ups of Hollywood. He made
four hundred thousand dollars in actual money, and is in a fair way to
double or treble that.

He operated in a very different way from Agnes Ayres, however. She
bought small property and waited. He put in big money and took out
big money. His biggest killing was a piece of semi-business property —
what might be called apartment-house property — just a block from the
very heart of the business section of Hollywood.

From Hollywood to the sea runs a broad mesa. Thru this mesa runs
a great boulevard that will one day be the finest street in the world.
Harold is preparing for this day. Smack across this boulevard, a little
way beyond Beverly Hills, he has a tract of forty acres. When you
figure that lots are selling at from four thousand dollars to ten thousand
dollars each in Beverly, and when you continue to figure and discover
that there are from five to ten lots in an acre, according to the way you
cut the cloth, it can be readily seen that Harold is due for a lot of money.

He has many other investments shrewdly made. He is very modest
about it; but he says frankly that the Hollywood boom has given him all
the money he will ever need in this world, and he can devote himself to
acting without further worries.

Somewhat to her own amazement, Viola Dana is also a realtor. She
swears she didn't intend to be. She got so tired of moving around from

Jackie Coogan has a lot
of Los Angeles real es-
tate, and a big cattle
ranch in Nevada. At the
left, he is watching the
workmen break the
ground for his very own
movie studio

one house to another that she bought one. This,
she says, was in pure self defense. She says
she knew that if she didn't, her landlord would
be coming around, very apologetic, and tell her
she would have to move ; that somebody had
bought the house and they were going to tear it
down to build a bank. So, when she and her
mother found a house they liked, she fooled
'em. She bought it.

Anna Q. Nilsson is one of the most enthusiastic

of the realtors. She prefers the uncultivated

tracts away from town

Milton Sills is a
skilled, conservative
investor in real estate,
and has never suffered
a loss on any invest-
ment

But now she says they will not leave her in peace. Every
few days, a realtor comes snooping around trying to buy the
house away from her for something over twice what she gave
for it.

Viola had a chauffeur who was a clever, industrious young
fellow who knew a lot about cars. Viola wanted to see him
get a better chance in the world. She had a secretary who was
a clever young girl. Viola wanted to see her get a better chance
in the world. When somebody offered to sell her an automobile
garage in Hollywood Boulevard, Viola saw that this was the
chance to help them both. She bought the garage and put in
her chauffeur as superintendent and her secretary as business
manager. She had no thought of the property's going up in
value. But virtue was its own reward. The place has more than
doubled in value. Viola refuses to sell because she doesn't
want to wreck the hopes of the young garage partners. Mean-
while, it is bringing her a fat dividend each month. Viola is
(Continued on page 100)

When Ernest Torrence gets a few hours off from villaining, he goes home and composes sonatas by the yard

I HATE
Movie Villains
They
Disappoint me
So. . . .

T'm always hoping

•■• When I see them on the

Screen . . .

Finishing off their

Grandmothers in some

New Style

Patting the Screws on the

Handsome Leading Man . . .

I'm always hoping

That their Hearts

Are in their

Work. . . .

But they always

Fail me in Real Life. . . .

Most of them go

Boy Scouting around Hollywood

Doing Good Deeds by the

Daily Dozen and

Leading as Blameless Lives

As Baby Peggy. . . .

"\T7"hen I met

*^ Wallace Beery . .
I quite expected him to
Whale me One
With a leg of mutton or
Whatever was most
Handy. . . .

Instead

fl-fl

He took me

TL A

For a drive

1 ne

And

We Talked Real Estate

You know the conversation

a *

That goes this way . . .

\ j\

"I could have purchased

Movie

Land around here for a

Song . . .

Three Years Ago"

\ 7-11 •

Yes actually. . . .

Villain

"V\7"hen I met

Lon Chaney . . .

I thought

This Will Be Good. . . .

But it wasn't

Very . . .

Pieces

He was out to Tell the

World that a

Hunchback's life

Is not

All beer and skittles, as

Hate

The Casual Observer

Might suppose. . . .

Then he very kindly

Gave me a

Personally Autographed

Photograph . . .

And I

HELEN CARLISLE

Passed Gently Out. . . .

'30

T\7"hen I was

Introduced to
Lew Cody
I fled for my
Very Life . . .
He

Didn't chase me tho
So I Came Back. . . .

Quite Seriously
He stated that his
Fan Mail
Was Sacred to
Him . . .
After which remark
I Took the Air
I needed it. . . .

A dolphe Menjou confided

That he collects
Stamps
Instead of Scalps. . . .

Cant you just see him

Hurrying his daily duelling

So that he may have

A Peaceful Evening by the

Fireside with his . . .

Stamp-book

And the rest of his

Scrap-Books ?

With

Sketches

of
Torrence

and

Menjou

ELDON KELLEY

Who
Apologizes

for

Passmg-Up

Beery,

Chaney

and

Cody

Dut when I met

Ernest Torrence . . .
I did choose my exit . . .
I felt certain that at
Last something was
Going To Happen . . .
Nothing did, however. . . .

I found that when E. T.
Gets a Few Hours Off
From Villaining . . .
He goes home and composes
Sonatas by the yard . . .
His movements on the screen
Are nothing to his
Movements off . . .

He is the mildest of the
Villains . . . why
Only one crime can be
Laid at his door . . .
He always steals the picture
And he cant be blamed
For that. . . .

T HATE

Movie Villains
They

Disappoint me
So. . . .

^H ™™ UR R

Cant you just see Adolphe Menjou hurrying his daily duelling so that he may have a peaceful
evening by the fireside with his stamp-book?

THE SEVEN-YEAR-OLD

When he was an inmate of the

Soldiers' and Sailors' Orphans'

Home at Knightstown, Indiana

JUST about my earliest recollection is of seeing my
mother and father swimming together in Eagle
Creek, near Indianapolis, Indiana, where I was
born. Mother had beautiful auburn hair, and she
would wear it in two long braids which floated upon the
water as she swam. Father was one-fourth Cherokee,
and love of the out-of-doors was born in him, and in me,
too. I never could stand being shut up indoors for very
long at a time. Probably that's the reason I've led such
a roving life.

Dad, who was a Civil War veteran, died when I was
seven, leaving mother, my three brothers, Bert, Roy, and
Maurice, and myself. Maurice and I were put in the
Soldiers' and Sailors' Orphans' Home at Knightstown,
Indiana. I didn't
want to go, at
first. My two
eldest brothers
went to work in
the saw and fur-
niture factories
in Indianapolis,
and I wanted to
earn my living,
too. I did, for a
while, selling
newspapers at the
corner of Wash-
ington and
Meridian streets,
but mother
wanted me to
have an educa-
tion, and placed
me in the home,
which was much
like any military
academy.

Like any kids,
Maurice and I
soon adapted
ourselves to our
s ur r oundings,
and were per-
fectly happy. He
left the school
two years before
I did. I stayed
32

Here Monte Blue wears the elaborate head-dress and robes of his ancestors,

the Cherokee Indians

THE NINETEEN-YEAR-OLD

When he worked as a stock clerk

for the Baker-Vawter Co., in

Benton Harbor, Michigan

there until I was sixteen, and then worked my way thru
high school. I dont believe I had any definite ambitions
at the time. For a while I thought I'd like to be a
mechanical engineer, and I took a correspondence school
course, but that sort of thing doesn't do a growing boy
much good. There are so many questions you want to
ask, and when your teacher is a thousand miles away or
so, it gets rather discouraging writing and waiting for
replies. At least I found it so.

When I finished high school I thought for a while of
going on to Purdue University. But I was also anxious
to get to earning some money, and as I wasn't fitting
myself for any certain profession, I gave up the idea of
going to college and started to work in earnest.

My father had
been a railroad
man, so it was
natural that I
turned to that
sort of work,
became a fireman
on the New York
Central R. R.,
but my career as
one was brief,
and ended in a
thrill. One win-
ter night, near
Ludlow Falls,
Ohio, the engine
I was firing went
head-on into an-
other one, in a
wreck which
would have made
a spectacular
movie. It took
four hours to dig
me out of the
debris, and an en-
tire year in the
hospital to patch
me together
again. The life
of a railroad man
has its points, but
they aren't all
good ones. My

■

flCMTOzOT

enthusiasm for railroading had vanished long before I
left the hospital.

Soon after my recovery I got the chance to join the
Zouave troop in Ringling Brothers' Circus, and as I had
always wanted to travel around and see the country, I
took it. The Zouave troop was a drill team. Our act
lasted only fifteen minutes, so each member had to work
with other acts in the circus as well. I became a clown —
you know, white

paint on the
face and every-
thing. I stayed
with the circus
a year, but at
the end of that
time, having
satisfied my de-
sire for travel,
I quit.

I must say
that the next
job I picked for
myself wasn't
an easy one, for
I went to Penn-
sylvania to work
in the coal
mines. You see,
I was restless —
didn't know just
what I wanted
to do with my
life because I
had no definite
aim. I thought
there was some-
thing rather ex-
citing about the
life of a coal-
miner, and at
that age I was
looking for
change and ex-
citement.

I got a job as
donkey-boy in
the mines east
of Pittsburgh.
My work was
to guide the

donkeys hitched to the coal carts from
the chamber where the miners were work-
ing to the elevator. After three months at Edwin Bower Hesser
this pleasant pastime, working ten hundred feet
below the surface of the earth, something happened one
day which caused me to decide upon a change of occupa-
tion. The chamber next to the one in which I was work-
ing caved in, killing the miners who were trapped there.
When I got up into the sunshine again, believe me, I was
thru with coal mining.

Well, then I headed West, paying railroad fare when I
had it, beating my way when I hadn't. There's a lure to
the West, and after working in the coal mines I thought
that life on a ranch would have many agreeable contrasts
to offer.

When I got out to Montana, I went to work at the
Flying V ranch, in the Flathead Indian Reservation. I
liked ranch life. It isn't so picturesque as it appears to
be on the screen, but you're out in the open all the time,
and if it's born in you to love the out-of-doors that means
a lot.

I learned horsemanship on the Flying V. My ability to

Above, in the
back row, are
two extras from
the Griffith pic-
ture Enoch At-
den, which fea-
tured Lillian Gish

At the right, is
the amazingly
youthful and
handsome Monte
Blue adored by
the fans of today

do all sorts of stunts on horseback was to prove a draw-
back to me in my film career, but at that time nothing
was farther from my thoughts than that I would some
day become an actor.

Presently — you see, I was still restless, still in search
of adventure — I drifted farther West, into the State of
Washington, and went to work in a logging camp near
Spokane. Here the idea of Socialism took a firm hold on

me. I'd heard a
lot about the
struggle be-
tween capital
and labor back
in the coal
mines and now
I became all
worked up over
the doctrine of
the full dinner
pail. I'd always
thought myself
something of an
orator, back in
my school days,
and the lumber-
jacks proved
an appreciative
audience.

The police of
Spokane, tho,
didn't appreci-
ate my sidewalk
speeches. I took
my doctrine
over to Seattle,
on the coast,
and here the au-
thorities re-
quested me to
leave the state.
I fell in with the
idea, drifted
over to Wyo-
ming and joined
the Bar S ranch
at Big Piny.
You know, it
seems to me
that Big Piny
was just about
the last of the real frontier towns. When
I was there, the men were still carrying
their six-shooters. It was a live cow town.
But I couldn't seem to settle down to ranch

Can you find
Monte Blue in
the picture above ?
No? Well, he's
at the extreme
right. This group
was snapped in
1914, on the old
Fine Arts lot,
two hours after
Monte was given
a job around the
studio as a day
laborer

seem
life again. I hadn't seen my mother for years, and pres-
ently I went back to Indianapolis to visit her. I was
older now, and for a while at least the spirit of wander-
lust left me. I went to work for the Baker- Vawter
Company in Benton Harbor, Michigan. This company
makes filing cabinets and all sorts of office equipment.
I started in as a stock clerk, and before I left them three
years later I had worked up to the position of superin-
tendent. My success didn't make me happy tho. I
hadn't yet found the work in which I could be really
happy, and in the spring of 1914 I went out to the Coast
again, this time to Oregon.

Things were rather quiet up in the Northwest about
that time. I couldn't seem to find any job that I fitted
into, and so, with no particular object in view except that
I wanted to get to work somewhere, I came down the
coast to Los Angeles. A friend of mine had told me there
(Continued on page 82)

33
PAG

Given a wisteria arbor, a moon-
light night, a beautiful maid and
a handsome man, the hour of
parting has a sorrow that is
doubly sweet. Excellently demon-
strated by the hero of The Spitfire,
Elliott Dexter, and the heroine,
Betty Blythe

A full-sized rep-
lica of the touch-
ing scene below
will be found in
For Sale, where
the fair Claire
Windsor, by look-
ing twice as sweet,
is making the
leave-taking of her
lover, Robert Ellis,
twice as sorrowful

'■■

"Parting

Such

Sweet

Sorrow"

Behold the bashful Bibbs (George
Hackathorne), hero of The Tur-
moil, lingering at the garden gate
to say Good Night to his adored
Mary (Eleanor Boardman), and
wishing that he dared kiss her,
while she is wishing very hard
that he would

The farewell pic-
ture below takes
place in The
Enemy Sex, but
we find no trace
of hostilities on
either side. Indeed,
Betty Compson
and Huntly Gor-
don appear to be
the best of friends

In Her Love Story, Ian Keith's parting from Gloria
Swanson would win the approval of Sir Galahad himself

l/KGC.

"Aw! wont you gimme
just one!" begs the
gawky country-boy hero
of East of the Water
Plug (Ralph Graves) of
the snappy flapper from
the city (Alice Day)

The Way of a Man with
a Maid, when the hour
of parting comes, was
much the same centuries
ago as it is today. Wit-
ness how Monsieur Beau-
caire (Rodolph Valen-
tino) says adieu to the
Princess (Bebe Daniels)

Even the small fry have
been caught in the cur-
rent of Romance. When
you see Wandering Hus-
bands on the screen, the
farewell between Baby
Muriel Frances Dana and
Turner Savage (left) will
delight your soul

PAG

The Girl

Who Couldn't

Be Bad

By
HENRY ALBERT PHILLIPS

Part III

^**K J

Put out of the only place she knew, Hope stepped into the streets

NOW, in order to comprehend Stanton Braith-
waite with anything like sympathetic under-
standing, we must — as it were — "catch him
young !"
Call the close, musty, disciplined and restricted atmos-
phere, in which Hope Brown had her upbringing, which-
ever you chose — Heaven or Hell — and you could safely
declare that Stanton Braithwaite's environment was quite
the opposite in every particular.

Stanton was from birth pampered to death and allowed
to taste all the delights of the world — if he so willed. For
he had an overindulgent mother who denied him nothing,
with the natural result that he was quite dissatisfied with
being good after having tasted all the delights of being
moderately bad.

Yet, despite his relapses, young Braithwaite never lost
his finer feelings and deeper loves. His was a case in
which the good had never been made sufficiently inviting
and interesting for his Sybaritic tastes.

Stanton returned home from college something of i
36

9 36 £

1A££

Illustrations by May Cornelia Burke
(A synopsis of Parts I-II appears on page 80)

rake, yet somehow bored by his fast
companions and their excesses. But he
was what is commonly known as a
"good fellow" and a natural social
leader and gay spirit. Everybody liked
him, and he in turn liked to please those
people who liked him by doing the
things they wanted to do. But he often
yearned for a restraining hand and a
strong influence to guide him in a more
useful direction.

Mrs. Braithwaite was what was
spoken of by every one as a "good
woman," which really meant that she
was neither good nor bad. She was
just nothing but a large soft sentimental
mother with tears ready to fall in tor-
rents at the least bump of reality.

Mrs. Braithwaite deplored Stanton's
many obvious faults but had not the
heart or the power to change the course
of his life. She wanted Stanton to
stay in the home which she thought con-
tained all that a boy could possibly desire. And Stanton,
on his part, was somewhat sickened of that atmosphere
wherein his every wish was gratified and his budding
ambition sapped.

Even before he had been graduated from college,
Stanton Braithwaite had set his mind and heart upon a
profession which his fond mother disapproved of. He had
determined to become a motion picture actor. Every-
thing favored his project, except his mother. Stanton
was something of a genius in college dramatics; he
was handsome; his college chum's uncle was a movie
magnate.

Stanton Braithwaite loved pleasure more than he did
hard work. There were no serious results to this because
of the fact that his mother supplied him with the funds
he should have earned. The fast crowd at Hollywood
got hold of him — and his income.

Stanton's mother kept begging him by letter to come
home and see her, and once he did. His mother was
shocked at the change in her boy. She knew that he had

lost something precious to his soul — and that she had lost
something precious to hers ! She tried in every way she
could to hold him, to keep him, hut the very next day an
urgent letter came from his fast friends. It hurt her the
way his face lighted with pleasure for the first time he
had been home.

"We need you, Stan, you old fried egg ! You're the
life of the party, and Isabel is crying crocodile tears all
over the place . . ." the letter rambled on. "Important
business calls me back, Mother — and I'll need a little
extra capital, too, to put it over!" he told her.

"But I want you," whimpered Mrs. Braithwaite.
"That's all I ask of you, to stay here with me. I have
always given you everything you wanted and all I ask
is my son in return !"

That was the trouble now — she had always given him
everything that he wanted — and now he wanted every-
thing! It was the reverse of Hope's home conditions.
She had always been given nothing that she wanted and
yet strangely, now she, too, wanted everything.

This was the time that Stanton Braithwaite had his
first real quarrel with his mother. He then went off to
Hollywood again like a spoiled child.

Stanton found— almost to his disgust — that the real
cause for summoning him had been a call from the movie
magnate, masked in the way they knew would always
bring him to Hollywood. Their Juvenile Star had broken
his leg or something and they needed a handsome young
man of exactly Stanton's type to take his place as the
rich man's son in a picture they were then making called
The Dark Lady's Secret.

TVTow to Hope Brown, this
■*-^ matter of Miles Orkney
— this handsome stranger
from the city— coming to call
on her, was one never-to-be-
forgotten glorious experience.
This was her first beau ! All
the other girls of her age in
town, it seemed, had had their
first beaux. She had scarcely
dared dream of ever having
one — yet here he was, finer
and more glittering than all
the others of Pocustown put
together. That's how Hope
looked at it.

Hope had her own ideas of
the intrinsic badness in it all.
As a young girl bordering on
eighteen, she felt it to be her
right to have a beau. How-
ever, in Pocustown, entertain-
ing a beau without the knowl-
edge and against the wishes
of one's parents was far from
being a sinless matter. Good
girls did not do that sort of
thing. Girls who did do it
came to no good end. Further-
more, some sharp-eyed mem-
ber of the family was prayer-
fully committed to the unc-
tuous duty of sitting in the
same room with the mating
pair — or in the adjoining
room with the connecting door
thrown open yawningly wide.
Hope knew well that Aunt
Charity was locked outside,
and she took an impish delight

OTION P1CTURI

MAGAZINE

in the idea. She knew she was being bad ; she wanted to I
be, in order to spite those who had tormented her with
their goodness all these bleak years.

Hope resolved to entertain her beau. She went to the old
square piano and in the dim light of the gloomy parlor
began to "pick out" the treble — now and then interpolating
a few misplaced bass notes — of the only piece she knew.
Still, anyone who knew the hymn would recognize Lead
Kindly Liglit. This was the best offering she could make
to her admirer and she hoped it would please him.

Orkney returned, quietly pocketing the key to the parlor
door. He turned with an unmistakable look of passion on
his face just as the first note of the hymn struck his ear.
He paused and stood there, involuntarily listening in half
recognition of the tune. There, he had it ! It had been
one of his favorites when as a boy he had been yanked
.to church on every conceivable occasion. Come to think
of it, it had been his mother's favorite hymn, too. His
mother ! She used to play this way in the twilight on
their old square piano, which was out of tune just about
like this one. He would steal into the parlor, near the
door — just as he was doing now — and listen rapturously.

Hope had melted into the picture.

Hope knew he was there all the time and waited
coquettishly for him to come forward and say something
complimentary about her playing, or to carry on the flirta-
tion which had just begun. She turned and looked at
him. "Oh, Mr. Orkney, I thought you were never going
to come back !"

A tremendous change had come over Orkney. He
shuddered at the sound of her voice. He turned and

/v>«1 e

She tried in every way she could to hold him, to keep him, but
urgent letter came from his fast friends

the very next day an

PAG

"xMOTlON PICTURF
v\ I MAGAZINE L

'Let God take care of the heathen — and He will! — but it's our Christian duty to take care of our children!'

quickly unlocked the door and opened it wide. Then he
raised the dark shades and let the pitiless sun into the
gloomy parlor.

Hope felt a hot wave of shame go thru her — of failure
to clinch the impression she sought to make. She was
angry with herself. She turned with a sigh.

"Ma'll be awful mad, if you let the sun in here and
fade things."

Orkney paused again, then turned toward the door.
"I'll have to be going," he said.

"Going?" cried Hope, scarcely believing her ears.

"Yes — I really must," insisted Orkney. "Do I go out
this door?" He was already unbolting the front door.

"Oh, I'm so sorry you're going!" Hope's honesty
shone thru her chagrin. "Wont you come again?"

"You really want to see me?" Orkney hesitated a
moment uncertainly on the doorstep as tho he would
come in again. Then he shuddered and stepped outside.

"Why, of course," replied Hope, irritated.

"Well then, here is my address in the city." He handed
Hope a calling card. "You'll be welcome any and every
time you come — and I promise you a good time there!"
He took Hope's hand and shook it half formally. Hope
watched him as far as she could see down the street.

When Hope turned with a sigh into the chill, silent
house again, she saw a figure standing and peeping thru
the half-drawn blind of the sitting-room. It was Aunt
Charity, who had evidently seen all.

As Hope stepped into the sitting-room, her aunt con-
fronted her. "Is that the man you were out with last
night?" Hope nodded wearily. "Hope- Brown, has he
been here in this house?" she asked, horror-struck. Hope
nodded again unemotionally. "You're a bad girl !'' cried
Aunt Charity, turning upon Hope with pious wrath.

Hope shook her head this time. "No, the trouble is,
I'm not bad enough for 'em."
38

Aunt Charity was staggered at this. "Dont lie about it !
You've been wicked. And you're goin' to get punished for
it. Now get along to your room this minute and stay
there until I let you out !" Charity made this threat half-
haltingly as tho she expected Hope not to obey her com-
mand. But to her surprise, Hope merely sighed and
walked half-heartedly up to the backstairs and to her
room. Aunt Charity turned the key in the lock and went
down to the kitchen to put a fresh rag on her aching head.

Hope's rebellion reached its highest point in a charged
atmosphere of silence. She stood by the window looking
out over the side porch for more than an hour, then she
burst forth spiritedly with :

"I wont stand it another minute. I'll leave home first !"

Hope stopped up the keyhole with paper — almost
poking a stiff point of it into Aunt Charity's one good
eye — and then coolly proceeded to rob her clay "apple"
bank by smashing it with the heel of her shoe. This
receptacle was labeled in her father's shaky handwriting,
"The Hottentot Missionary Fund — to be opened on
Hope's coming of age." Every coin within it represented
some sacrifice, some foregone pleasure, some punishment,
some irksome duty or back-breaking task. Tears, heart-
aches and suppressed yearnings were all confined in that
little vessel of clay. It yielded a great handful of burnt
offerings. Hope ground the remaining fragments of the
"apple" under her heel with savage joy. She looked upon
it as the torture chamber of her soul.

Hope then packed a quaint old-fashioned valise half
full. Her Sunday-go-to-meeting frock took up most of
the room. She had no pockets, so she put the card Orkney
had given her into the bottom of the valise. When it was
dark, she climbed over the side porch roof and slid down
one of the pillars. She sneaked up to the railroad station
across lots and boarded the nine o'clock local for the
city in quest of iniquity.

'T'he same evening that Hope departed from her sancti-
•*• fied home and sacred town of Pocusville, Ezekiel
Brown received the letter from Charity disclosing her
enormities. EzekiePs righteous indignation reached one of
its highest pitches. He went right down to the hotel writ-
ing-room and penned an epistle more scorching than that
of Paul's to the Ephesians. The gist of it was to the effect
that Charity was to punish the children as severely as she
knew how — especially Hope. He especially commanded
that the recalcitrant child should be kept locked in her
room, there to await the wrath to come !

But Sarah Brown, the mother, sensed something sin-
ister behind it all. The protective spirit of the mother
within her scented peril. She pleaded in vain with
Ezekiel to return home at once. In her moment of
apprehension and poignant fear, she tried to get close to
her husband, but he drew away from her shamefacedly as
several members of the Convention Committee burst into
the room with a thrilling plan for the regeneration of the
Headhunters of the South Seas. Regenerating others
always acted like fire in his veins. It was midnight before
they had perfected the plan that would put the South
Sea Islands effectually on God's map — even tho some
small part of Pocusville should have to go by the board
in consequence.

When he returned, Ezekiel found his wife, Sarah, half
ill, pacing the
floor of their
room. Intuition
was working
stronger than
Righteousness.
Ezekiel wa s
angry.

"What's come
over you, Sarah ?"
he demanded.
"Must this great
Convention of
Righteous Causes
be halted
beneficent
for me
home and
a rebellious
daughter ?"

"Oh, it ain't
only that, Zeke,"
pleaded Sarah.
"Say what you
like, they're
children !"

Zeke was
pleased at
u n w i f e 1 y
bellion. "So
the heathen
children! Ain't
we commanded
to go into all the
world and preach
the Gospel?"

Sarah had risen
unsteadily on her
feet, her eyes un-
naturally bright,
her cheeks flam-
ing. "Let God
take care of the
heathen — and He
will ! — but it's our
Christian duty to

0T10N FICTURR

MAGAZINE T\

take care of our children !" With this Sarah toppled <
over in a state of nervous collapse.

A doctor was summoned. "She's got something on her
mind that must be settled, or one cant tell how it will
go with her. I'd advise getting her home just as fast
as you can !"

Ezekiel was bitterly disappointed. He had been head-
ing straight for the Moderatorship of the entire Federa-
tion. His zeal for Righteous Causes and driving ability
threatened to wipe all the sin clean out of the Antipodes.

He simply had to take Sarah home ; it was his Christian
duty, after all. But he always liked to exceed his duty.

"L-Tope Brown arrived in the city of Los Angeles a little
■*■ •*■ after midnight, and, like the innocent child that she
was, she thought that she could do things there exactly
as she would have done them in Pocusville. All imaginary
stuff of course, because she had had no experience in
doing anything except housework in her little home town.
In other words, Hope was just a bumpkin of the crudest
type in appearance, word and action. But pretty little
Hope Brown was endowed with a power that would
go a long way. With her pretty face, she seemed destined
to become a speedy and easy victim to the vultures, but
she was endowed with that blessing — the ability to fill
with a disturbing sense of guilt those who would harm her.

A very respect-

in its

work

to go

punish

our

dis-
this
re-
are
our

Hope found one very wretched and depraved specimen of womanhood — whom
they derisively called Snsie — sitting dejectedly on the stairs and weeping

able looking old
lady accosted
Hope as she
stood in a corner
of the station
delving in vain
for the card
Orkney had given
her. Orkney was
her friend and
she was going
straight to him
and let him do
what he could
for her, despite
the fact that she
seemed to have
failed to impress
h i m in Pocus-
ville. But the
card was gone !

The old lady
was very kind.
She told Hope
not to worry.

"It's Provi-
dential that we
met !" the dear
old thing said.
"I'll take you to
the house of a
friend of mine.
There's lots of
young girls stop-
ping there — sweet
young things
from the country.

So the old
crone steered her
straight to a
house where way-
ward women con-
gregated, lodged

(Continued on faqe
80)

39
PAG

Adventures Off- Scene

DEAR FRIENDS, Enemies (if any), and other
Fellow Countrymen :
This is the way it came about.
It was midnight by my watch and about
7 P. M. by Pola Negri's when I received a telegram
from the editor of this magazine asking me if it were true
that I knew personally every screen star, baby vamp, and
director in the profession, including a profound knowl-
edge of back lighting, luxury sets and the soul of Anna
May Wong.
I wired back :

Know stars personally from Lubin to
Rex Ingram and Zukor stop Acted with
Pathe Senior twenty years ago semi-colon
Spun tops with Bunny exclamation point
Was boy sweetheart of Pola in Warsaw
comma and was Chaplin's vaudeville part-
ner in London period Played with Jim
O'Neill and Tom Geraghty in first screen
version of Monte Cristo in 1909 dash
Directed for the De Milles on old Lubin
lot colon Was the original pre-war lit-
up set semi-colon Designed first luxury
6et for Sarah Bernhardt interrogation
mark Kidnapped Anna May Wong from Palace
at Pekin period Collect.

So that's the way, people of America, I was shang-
haied into this job.

Nita of the Brilliant Tongue

Nita Naldi, dark and luminous Astarte of the film
world, has a technicolor mind. It blazes in fierce
gusts of red, it revolves in gorgeous clus-
ters of epigrams, it shimmers in
Neapolitan blues. She can
slay you in five words,
she can puncture
your blah with a
right-angle triangle
look out of her
eyes, she can up-
set the "morale" of
a studio with a
comic saying about
a director.

Nita is the most
feared and most
loved woman in
pictures. I used
to lunch with her
every day at Nita's
Table in the lurich-
room of the
Famous Players'
studio at Astoria.
Nita sailed off the
set in costume at
precisely twelve
o'clock, "leaving
the director flat on
40
ee.

his megaphone," as she once phrased it. As she appeared in
the lunch-room door, everybody was aware, by a kind of
psycho-physico-laugho tug at his nerve antennae (altho all
backs were to the door) , that Some One had entered. Her
aura filled the room. Coming laughter cast its Nita before.

Nita's merry soul and darting wit likes to surround
itseif with men. So I was always there, with "Wally"
Young, "Tom" Geraghty, J. Clarkson Miller, and Tom
McNamara, to greet her.

"Well, as Napoleon said when he was canned at Water-
loo, are we all here ?" was one of her various ways of salut-
ing us as she took her chair. Or maybe it was, "Well, as
Emerson says, is everybody at home with his soul this day ?"

The waiter approaches. She asks for some of those
"crocheted eggs" or "soup a la water." Her black eyes
dance with mischief as she looks vis over. Her fingers
flutter a salutation across the room at Tommy Meighan
or Gloria Swanson. And between courses she sand-
wiches in original and spontaneous observations on life,
literature, dress, politics, week-ends (Nita says week-
ends should begin Friday afternoon and last until Thurs-
day noon), and a thousand other things.

She once said of a certain scenarist that his brain lacked
interior lighting.

She said of a certain director that he'd be nearer the
top if he wasn't always doing a "clinch" with herself.

She speaks of "a baby star" as "a cradle Venus."

But Nita Naldi is never malicious, and no one enjoys
her witticisms more than those she aims them at.

'HATS

Ramon

A famous quartet off to Europe for
Adele Rowland; Blanche Sweet

amon ! Ramon ! Ave Ramon !

the cry thruout the screen world today —

/ Ramon!- — Ramon Novarro! Wherever I go

I hear it — in studios, motion picture

theaters, among the "fans." Is

Ramon to be the new Sir

Galahad of the

"movies"? Looks

that way as we go

to press.

Ramon is the
soul of Romance.
He was born with
the scenery that in-
flames the mind —
that will always
inflame the mind,
that ought always
to inflame the mind
so long as imagina-
tion reigns from
the thrones of our
distracted beans.

I have always
held that Romance
— and not Realism
— is the proper at-
mosphere of the
screen. It is the
great release from
(Cont. on page 88)

Keystone View Co

a holiday — Conway Tearle and his wife,
and her husband, Marshall Neilan

Kenneth Alexander

TTT(.

<*SJ^-

The Woman You Cannot Bluff

*^ r OU cannot bluff her, because she would know immediately what you were trying to do — she could read it,
not only in the expression of your mouth, your eyes, or your whole face, but in the formation of your ears
perhaps, or the shape of your nose, the "cut" of your jaw, or in some other facial characteristic. This wonder-
woman is F. Vance de Revere.

About fourteen years ago, she started dabbling into Palmistry, Graphology and kindred subjects. This
led to her reading along the lines of Physiognomy and Phrenology, starting with such authorities as Dr.
Symes, Lavater, Fowler, Merton and others. At this time, the subject was little talked of, and books on it
were hard to find. She watched and observed everyone she came in contact with, and then collected pictures
of people in various vocations and compared their faces and characteristics. In later years, she attended
lectures and was continually studying and reading upon the subject.

In her readings, Mme. de Revere does not use any one course, but takes from several that which her
own observation has found most accurate, and in her continual observation she has often found things which
have not been in any printed courses. She does not believe in classification into types and the forming of
judgments based on colorings, for there are no two faces wholly alike, and every individual is a law unto
himself.

On the following pages, we present the first group in her series of character readin
motion picture stars, made especially for this magazine.

f well - k

gs 01 we

nown

41 P

PA£U

Wrtat I Can Read in tke

Henry Waxman

A Complete Analysis

I FIND the face of Constance Talmadge a very interest-
ing study.

In the upper lip there is found sympathy, kindness,
enthusiasm, tact, and a love of display; in the lower lip,
a love of pets, and also strong desires. There is a slight
lack of firmness ; she is "easy-going," and she loves the
opposite sex. She is a person who usually gratifies her
wishes.

In the chin is found a very affectionate nature; one
that desires affection and attention and gets it. A person
who is ready to assent to most everything, and is very
agreeable and likable.

In the cheeks are shown daring, a dislike for secrecy, and
little thought for consequences. A nature always ready
for a good time.

In the nose, I read a nature that would find it difficult to
engage in pursuits in opposition to her tastes. A person
who is observing and especially notices, in detail, clothes
worn by others. A person who has a dislike for details,
and never analyzes. Her reasoning is synthetic.

Over the eye is shown a love of tune and rhythm, and
a fondness for dancing.

In the side of the head above the ears is a fulness which
shows a natural gift for conversation and proves that its
possessor talks easily, is sociable, and likes people.

Tho her hands are not pictured here, I read in them that
she is a tactful person who usually says the nice thing and
the right thing at the right time. A highly sociable nature,
and one who adjusts herself readily to all people and
conditions. Ambitious, yet who does as she pleases
(Continued on page 83)

CONSTANCE TALMADGE

CONWAY TEARLE

IN reading Conway Tearle's face, one is impressed
immediately with the high quality of the man, the
refinement and good mentality.

I noticed first the broad, well-formed forehead which
denotes a good mentality and the lines across the forehead
which show that he is a logical thinker. A person who
enjoys reading, and the things that are intellectual. The
lines at the root of the nose show one who is critical of
himself as well as of others.

In the nose, we find one who analyzes and has good
powers of concentration. When reading a book which he
is interested in, he will be unaware of that which is trans-
piring about him. Like all successful people in his pro-
fession, he has a good imagination, constructive ability, and
is highly inspirational.

In the parentheses about his mouth, I find pride and
dignity. In the upper lip is found a kindly, charitable
nature, one that is interested in human beings, and is a
good judge of people. In the lower lip are found strong
desires. In the tightly closed lips there is good control and
much poise.

In the chin is found a love of the beautiful; he is one
who especially likes good-looking people and nice sur-
roundings. He is neat, and is quick to notice if others
are also; he likes things orderly and systematic. A man
who knows himself, his strength and his weakness. A
very serious nature, but with a keen sense of humor and an
appreciation of fun. Strength and endurance are shown in
the chin. In the lobe of the ear is shown longevity. He
is a person who prefers quality to quantity. A nature
(Continued on page 83)

42
3£

Faces of the Film Stars

Lr? F. Vance de Revere

WHETHER a character is strong or weak is quite
discernible when looking at a face. In Norma
Talmadge's face there is much character.

In her upper are found sympathy, kindness, candor, tact,
faith, and belief in her fellow beings. Also an ardent and
enthusiastic nature. In the lower lip I find a love of chil-
dren and animals, tenderness and affection and loyalty to
those she loves. There is also poise and control. In the
lines about the mouth are pride, dignity and leadership.

In the jaw line is found a highly independent nature ; a
person who must have freedom in thought and action, and
do as she desires without interference. A nature which
becomes restless if confined to routine too long, and then
must search for change and things different. There is a
strong will and determination.

In the chin is a love of the beautiful, especially a beautiful
face. There is also endurance, and strong likes and dislikes.
It indicates that she is most unselfish and devoted to those
whom she loves.

In the cheeks is shown caution and reserve, with too high
repression and secrecy for her own physical good. Here is
shown an intense, honest nature that takes life too seriously.

In the nose, we find an observing person with good judg-
ment and an inclination to analyze, a vivid imagination, good
constructive ability and concentration.

In the hands is again shown a nature independent in both
action and thought. A highly inspirational nature with
dramatic talent well developed. Also a sensitive nature with
deep feelings.

In the forehead :s found a good mentality, and in the
(Continued on page 83)

Puffer

NORMA TALMADGE

IX the face of Colleen Moore one finds — which is unusual
in a person so young — a good development of character,
and the qualities which make for success.

In the nose, I find synthetic reasoning, which gives the
ability to gather together quickly knowledge from things seen
and heard. There is a good imagination and constructive
ability. A nature who will set aside for the rainy day, and
has a sense of money values. A person quick to observe. A
lack of aggression, but high self protection.

In the jaw line, which is long, is found a strong will and
determination, endurance and fortitude. A nature which
desires action.

In the chin is found a love of the beautiful, and per-
sistency. A person of strong likes and dislikes.

In the mouth I find strong desires, much poise and con-
trol. In the upper lip I find a love of display, a desire to
reform and change things for the better. Also enthusiasm
and zeal.

In the cheeks are found industry and intensity, and a
nature which is steadfast.

The forehead has good breadth, showing a fine mentality,
altho Miss Moore is not of the student type. A person who
grasps things quickly and has good judgment. Quick in
both mental and physical action.

Over the eyes, where the music sign is located, is shown
musical ability. Tune and rhythm are also well developed.
Such people like to dance.

Making a general summary, I would say that Miss Moore
has a character that should make her very successful in
anything she undertakes. She has enthusiasm, an active
(Continued on page 83)

Richard

COLLEEN MOORE

43
PAG

Helen d'Algy's story is the kind that isn't supposed to
happen in real life. She was discovered by the Valentinos
one day when, in the depths of discouragement over her
seemingly bleak future, she sat eating a mournful lunch in
the restaurant of the Famous Players' studio. "Who's that
lovely girl?" Mrs. Valentino asked her husband, from a
near-by table, attracted by the stranger's dark-eyed slender-
ness. "She's the ideal Spanish heroine for your new pic-
ture." Inquiry disclosed that Miss d'Algy really was a
Spanish girl, who had come to this country in 1923 from
Madrid. For a year she had been one of the many extras
hanging around the studios, picking up bits where she
could, but was beginning, to despair ever of finding her
big chance. Mrs. Valentino put her thru all the screen
tests, and she became a regular star.

Moral: When downhearted, never skip lunch!

Tke

Girl Who

Captures

His

Heart

This is the difficult task the
scenario writer has set for
Helen d'Algy, the heroine of
A Sainted Devil, of which
Rudolph Valentino is the Hero.
This picture is nearing com-
pletion at the Long Island
studio of the Famous Players,
and those who have been fortu
nate enough to get a peep at
various scenes in the making,
say that it adds another big
feather to Rudolph's cap

IraD.
Schwartz

Photograph by .Russell Ball

MRS. RUDOLPH VALENTINO

She is Our Lady of Many Talents. She dances divinely, is an accomplished musician, an

interior decorator of rare taste, a designer of costumes and stage settings — and a detector of

talent in others. It was she who discovered Helen d'Algy and proved to the directors of

A Sainted Devil that the young Spanish girl possessed the "stuff that stars are made of"

45 P
PAGli

Follow the dotted
line and it will
lead you to the
two greenhorns

Editor's Note. — This article is written
specially for the thousands of motion pic-
ture fans zvho have never seen Hollywood
or New York, and who send its number-
less letters, asking us to describe minutely
what goes on inside a big studio when a
feature production is being filmed

Behind the Screen with Two Greenhorns

In wkick two young things describe and picture tkeir first venture into Studioland

Text hj MARGARET NORRIS

Sketches try) Helen Hokinson

AH Aboard

WHEN my friend Hokey and I got the
chance to visit the Famous Players' studio
out on Long Island and see a movie in the
making, we felt as tho we had indeed
entered the "Industry" and would soon be making dates
with the stars. And when we chucked our nickels in the
New York subway and boarded the car marked Astoria,
we were just as excited as tho we were going to be pre-
sented at Buckingham Palace.

The Famous Players' studio is a big pile of white
stucco buildings, covering almost a block in the business
part of Astoria, and looks not at all as we thought a
studio should.

"Oh, dear!" groaned Hokey, registering disappoint-
ment at first glance as we steamed up the asphalt street in
the sun, "I thought it would be a beautiful estate on the
Sound with sunken gardens and whispering pines and the
blue waves lapping the shrubbery."

Hokey comes from Mendota, Illinois; and cant quite
seem to forget it.

"Dont gloom already," I replied with the superiority of
one who used to have passes to a movie in Chicago.

But once we'd got inside, all traces of disappointment
vanished, for there we were in a world as strange and
new as the one Alice found behind the looking-glass.

On the Set

"~V7"ou've come on a good day," said the young man
■^ who met us at the doorway and was our faithful
guide for the day. "Upstairs, Gloria Swanson is making
a wedding scene, and downstairs Rudolph Valentino and
Nita Naldi are doing heavy love scenes with artistic fade-
outs. We'll go to see Gloria first."

We thrilled assent to any suggestion and followed him
thru devious passages into a room lined with electrical
46
ae.

appliances and blazing with weird, uncanny lights.
Dozens of people were surging about in a more or less
aimless fashion — women in handsome evening gowns,
dowagers and flappers, men in dress suits and gold-
braided uniforms from every court in the world, priests
and nuns and heavy villains, and a group of little girls
dressed in white as tho for confirmation." In among them
were men in overalls, heaving scenes and working at the
cameras, and other men in citizens' clothes that needed
pressing, running round with manuscripts in their hands
or bawling orders thru a megaphone.

Under the powerful Kleig lights everyone looked
bilious and unhealthy — like walking corpses. Their skin
was a pale, greenish-lavender ; their lips, heavily made
up, were dark purple; their clothes, a somber monotone
of purple or gray or black.

"A peaches-and-cream complexion wouldn't help you
much in the movies," said I, with a glance at Hokey. "I
wonder if I look as dreadful as you do?"

"There's the answer," she replied, whipping out her
mirror — a truly cruel retort.

"Never mind," said the nice young man. "You soon
get used to this light and dont think anything about it.
This is Gloria's set," he continued with a broad gesture.
jl'The name of her picture is Her Love Story, and today
she marries the villain."

"Horrors!" ejaculated Hokey. "And doesn't the hero
rescue her?"

"Not in this picture," said our guide.

"Just like real life," sighed Hokey, thereby giving the
young man the impression that she had been disappointed
in love.

"Oh, of course everyone is happy in the end," said he,
"for you must remember this is the movies."

The room itself was nothing more or less than a vast
workshop, quite as unfinished as an empty barn, with
rough rafters and beams running up to a pointed ceiling.

The men and women were chatting and smoking in

1(101 I MAGAZINE

groups or sitting on all available benches and
chairs — which were few. In a far corner was
a little group furtively shooting craps. Here a

J beautiful brunette of the vamp type was lost to
the rest of the world in a book entitled The
Fangs of the Serpent.

"What a wonderful title for a movie," said
Hokey.

"Perhaps we can write one and loaf the rest
of our lives," I suggested.

Someone spoke to this woman ; she answered
in French and then went back to her reading.

"That girl was formerly a Russian princess,"
explained our guide. "She was driven out of Russia by
the Bolsheviks, came to America, and made the movies
because she's a good type."

"Who's the nice old lady in the corner?" I asked, indi-
cating a distinguished-looking, white-haired woman with
a group of "officers" about her.

"She is the Baroness Franziska de Hedeman." said the
young man. "wife of a former Hanoverian nobleman.

As we came in,
Rudolph the immortal
had just stepped out
of the picture to pow-
der the face that is
his fortune. He was
scrutinizing himself
closely in the mirror
and dusting his flaw-
less features with
bright yellow powder,
that being the color
which shows up best
on the screen

' "That's Gloria's dressing-room."
explained our walking encyclopedia.
""The electricians made it for her so
that, with every change of costume
(and she makes the usual number),
she wont have to take the elevator up to the regular
dressing-rooms."

A peek inside showed that it was fitted up very sumptu-
ously, like one of Marie Antoinette's boudoirs at Ver-
sailles. On the outside were hooks on which the men
had hung their hats and coats.

The only place in the room where there was any

semblance of order was the comparatively small portion

taken in by the eye of the camera, walled off by the

powerful lights and lit by more from above. Here was

built an altar banked with real flowers, roses and

peonies, and smilax enough for a truly royal wedding,

with richly carpeted steps leading up to it.

Nobody Works but the Double

Tn front of the altar, her back to the camera, stood

■*■ a slender young girl, a glittering wedding train

some ten or fifteen feet long hanging from her

shoulders. It was made of silver cloth bordered with

ermine, with an enormous ermine collar, and several men

and women were working upon it, fitting it upon her

and adjusting its long length on the floor behind her.

(Continued on page 64)

While the girl who doubled
for Gloria was holding up the
elaborate ermine robe for the
wedding scene, waiting for the
bride to appear, a workman
with a mop made sure that
there was not a speck of dust
left on the floor to soil Gloria's
white slippers

She calls herself 'a citizen of the world,'
because she has lived in every court in Europe.
You see the scene of this picture is laid in the
Balkan states, and the Baroness is here to
prompt us on court etiquette, so we wont wave
the star-spangled banner instead of the flag of
Czecho-Slovakia."

"She certainly seems to be popular," said
Hokey, wistfully eying the handsome young
bloods in gold-braided uniforms and swords
who were grouped about her.

"She's a good scout," said our guide.

In one corner of the room was a funny
little structure, like the portable houses you
buy in sections from a mail-order house, and
put up with the help of the family.

In a far corner
a beautiful
brunette of the
vamp type was
lost to the rest
of the world in
a book entitled
The Fangs of
the Serpent.
"She's an hon-
est-to- goodness
Princess," whis-
pered our guide,
"and was driven
out of Russia
bv the Bolshe-
viks"

PAG

"There has never," the ecstatic Mary the First had
whispered to her William, "there has never been

love as great as ours" and she believed it

with all her palpitant, shy heart

MARY

THE

THIRD

Mary the Second murmured to her
Robert, with a conviction out of all
proportion to the occasion: "There
has never been a love as great as ours"

"You wont make any mis-
take in taking me," the boy
argued, "because we have
been so intelligent about it."
"I know, Lynn darling," said
Mary rapturously, "because
there has never been a love
as great as ours!"

Dont Deceive Your Children

A short novelization of Rachel Crothers' stage success, "Mary the Third." Written with the permission of the Metro-Goldivyn Company.

Adapted for the screen by Carey Wilson; directed by King Vidor

By PETER ANDREWS

ONT waste this pr-r-riceless music, you
handsome devil !" came unexpectedly in deep
chest tones from a blonde fluff of loveliness,
descending the stairs via the hazardous route
of the banisters. "Hal, you rotten gooseberry," the
ridiculous voice went on, "dont you see Mary wants to be

alone with Lynn -"

"Oh, Tish !" exclaimed the girl called Mary.
"Hold your tongue, incorrigible infant !" said Lynn.
Hal said nothing, hushed by a precipitous embrace and
being waltzed willy-nilly across the floor by his imperious
young hostess.
48
6£

"Tish was right so far as I'm concerned," said Lynn
when they were out of earshot.

Mary smiled, tho without coquetry. Lynn was a
darling, no mistake — handsome enough, rich enough, and
a most unusually thoughtful and considerate boy. There
was a hint of poetry in his make-up, a bit of pathos —
that indefinable something that made all women long
unaccountably to mother him.

A nice boy, Lynn, truly.

Mary was perched on the banister at the foot of the
stairs, watching thru a wide arch the room full of dancers,
with their wriggling and squirming and cheek by jowling,

Mary . .
Clinton
William
Lucy . .

that they called by various names and that epitomized the
modern dances. A hint of its essential vulgarity came to
the girl, tho she herself was swaying her body in time with
the insistent rhythm of the
music. She turned toward
the boy beside her and smiled
again, a little wistfully.

."Oh, I do love you, Mary,"
he cried, "more than anything
in the world. Wont you quit
playing around — and marry
me?"

But Hal was coming toward
them. Tish's particular crush
of the moment had cut in to
finish the dance with her, and
like a true daughter of Eve,
Tish had whispered in his
ear, "It's a crime to waste this
mar-r-rvelous moonlight.
Let's go outside, you hand-
some devil." So Hal, relieved
of the blonde fluff, with the
immoderate voice, came back
to Mary.

"I dont know, Lynn," the
girl was saying, "whether I
love you enough — and I dont
know how to find out. Mar-

CAST OF CHARACTERS

Episode of 1870

Eleanor Boardman

James Morrison

Johnnie Walker

Zazu Pitts

Mary .

Robert

Richard

Mary . .
Lynn . .
Hal ...
Max . .
Tish ..
Mother
Father
Granny
Bobby ,
Anne . .
Flapper
Flapper
Doctor

<ir,MQTI0N P1CTUR

InOI I MAGAZINE

Lynn remembered moodily that this was a day of aggres-
sion, of taking what you wanted when you wanted it.
Tish was like that. Tish was more like that than the rest

of them. Anne was too, and
Max. The line of his jaw
stiffened. Well, he could be
like that, too.

Back in Mary's home, her
young brother Bobby was
about to depart for Tish's
hilarious party. "Bobby,"
called his mother. The boy
hesitated dutifully. "What's
the row, mother?" he de-
manded. "I'm late now."

"You mustn't take the car
tonight, Bobby, your father
wants it."

Over the top of the stairs
leaned Granny. Granny's
happiest faculty was that of
intruding at inopportune mo-
ments. Her second most en-
dearing characteristic was a
total incapacity for letting a
difficult subject drop. "Chil-
dren," she remarked queru-
lously, "stayed home one
night a week when I was a

Episode of 1897

....:... Eleanor Boardman

Niles Welch

Creighton Hale

Episode of 1924

Eleanor Boardman

Ben Lyon

William Haines

William Collier, Jr.

Pauline Garon

Eulalie Jensen

E. J. Ratcliffe

Gertrude Claire

Robert Agnew

Lucille Hutton

Virginia Lee Corbin

Gloria Heller

Sidney De Grey

Hal loved
Hal,

nage is a serious

"Come on, Mary, it's my dance," interrupted Hal,
dragging her away, half willing, half regretful.

Lynn watched them with a heavy heart ; Mary with her
erisp bronze hair, her wide hazel eyes that had all the
kick of an electric shock when she turned them on you
unexpectedly; Mary with her light young body, her tiny
silver slippers caressing the floor, held tight — too damn
tight — in Hal's arms. They danced like one person, each
lovely motion complementing the other. Beautiful
couple, he grudgingly admitted
Mary, too, and Lynn knew it.
too, was rich, richer than
Lynn, and handsomer.
He was more aggres-
sive besides, and

Mary's black vel-
vet gown cut in a
deep V down her
pretty back caused
Granny to gasp
with displeasure.
It seemed almost
as tho Granny
took some per-
verse delight in
being annoyed by
things. Certainly
her grandchildren
offered her con-
siderable pleasure
in that respect.
But Mary's father
was holding forth:
"Just let me hear
of you going off
on this wild ex-
pedition, young
lady "

girl."
Bobby sighed disgustedly, disdaining the obvious reply.
He tossed his lighted cigaret carelessly behind him and
breezed thru the door. Patiently his mother closed it
after him.

"My sofa! my sofa!" suddenly shrilled Granny, "the
sofa I sat on the night your father proposed to me !"

Her daughter came quickly over and removed the cigaret

which had burnt a tiny hole in its covering. "It's a shame,"

continued the old lady angrily, "to

let them abuse my

precious sofa."

AMOTION PICTURp
1101 I MAGAZINE L-

Tish took out a siphon, cocked her finger on the

trigger, and aimed it at Max. "For Heaven's sake, stop

proposing!" she cried. "How can I think of love when

I'm looking for cold hamburger?"

"Well, it also has memories for
me," answered her daughter in gentle
rebuke. "Robert proposed to me on
it, too. ..."

Mary the First, that was Granny,
closed her eyes. She had given and
accepted her first kiss on that couch,
shyly and with a coy timidity that
made the proposer feel as tho he had
outraged the sensibilities of an angel.
That was way back in 1870, and the
proper attitude for that polite period.
Still, she had accepted him. Clinton
had wanted her, but William had
won her. William with his master-
ful ways had kissed her first, and the
gentle and patient Clinton had been
forgotten, which is all too often the
reward of gentleness and patience.
"There has never," the ecstatic Mary
had whispered, believing it with all
her palpitant, shy heart, "there has
never been a love as great as ours."

Mary the First opened her tired old
eyes and looked at her daughter.
That was Mary the Second. But her
head was drooped and she, too, was
lost in the bitter sweet fields of mem-
ory. Like Mary the First, she had
had two devoted swains, Robert and
Richard, and Richard was the shy
one and Robert the bold. "You cant
marry anyone else but me," Robert
had said to her in his all-conquering
manner. "But I'm awfully fond of

t Richard," she had answered coquet-
50
6E

tishly over the tip of her fan. This was in 1897, a
more robust age, and a little frankness was not
quite the declasse performance it had been in Mary
the First's day. "Unless two people are so sure of
each other's love," she went on, "unless they love in
the most wonderful way "

Robert stopped her words with a kiss. He
dammed them with kisses and Mary the Second lost
her head under the spell — as women have always
done — and when he told her she was going to marry
him because she loved him, she sank down on the
couch — the same old sofa — and agreed that she was
and did. And locked in each other's arms, Mary,
who had been doubtful but a moment before, whis-
pered with a conviction out of all proportion to the
occasion, "There has never been a love as great as
ours."

All of which brings us back to Tish's party and
Mary the Third, and the gentle Lynn and Hal, the
debonair.

The party was at its height, that is, its noisiest.
Anne, the wildest of the flappers, had "passed out"
and had been more or less successfully revived — at
least, she was able to stagger around in a pair of
pajama trousers and a thick white sweater — by the
heroic application of a cold shower, clothes and all,
in one of the numerous bathrooms of Tish's house.
In Anne's condition, the disgust of her little play-
mates meant nothing to her. Someone was always
"passing out," anyway. It was all this silly
prohibition. ...

Bobby had arrived — and departed in his father's

Anne, the wildest of the flappers, had "passed out" and had been more or less

successfully revived by the heroic application of a cold shower, clothes and

all, in one of the numerous bathrooms of Tish's house

OTION PJUlLTRj

MAGAZINE

car, be it stated, albeit
with embarrassment
for the young scape-
grace. Incidentally,
Bobby had arrived
and departed no less
than three times dur-
ing the evening, each
time with a different
young thing beside
him. Bobby knew
only one line, but he
employed that with a
skill far beyond his
eighteen years. All
three girls seemed to
be satisfied with their
little outing ; and in-
asmuch as the only
casualty was a bent
fender caused by a
large unyielding tree's
appearing suddenly in
the middle of the
road, Bobby consid-
ered the evening well
worth while. Variety
plus excitement is the
spice of the Bobbys'
lives.

Tish, with a com-
fortable disregard of
her guests, sat on the
veranda spooning
shamelessly with
Max. Tish's parents
had left unexpectedly
for Boston and Tish,
with a promptness

and expedition heretofore undreamed of, had "scared up
a party." As Bobby strolled in for the fourth time, he
stumbled over a pair of outstretched legs in the dark.
"Dont mind us," boomed a deep voice, "step right inside,
you handsome devil." Tish's legs, evidently !

At length, when the guests could find no further excuse,
reasonable or unreasonable, for staying, they took their
reluctant departure, Mary and her two satellites and Max
staying behind in response to Tish's whisper, "Stick
around — we'll raid the ice-box."

Before the cavernous ice-box in the kitchen, Max put
his arms around Tish and started an amorous conversa-
tion, only to be rudely interrupted by the irrepressible one
with : "For Heaven's sake, stop proposing, Max ! How
can I think of love when I'm looking for cold ham-
burger?" She took out a siphon, cocked her finger on the
trigger, and aimed it at Max. He surrendered with
engaging promptness.

On the broad ledge of the kitchen sink sat Mary
dangling her slim ankles comfortably above the floor.
Next to her sat Lynn, his arm was around her. Hal
suddenly banged down the bowl of cracked ice he had
been carrying. "Dont put your arm around my girl," he
glowered.

Lynn looked at Mary but did not remove his arm.
"You are going to marry me," Hal went on, "and I wont
stand for Lynn's touching you."

"Is that true?" asked Lynn, still not removing his arm.
"Are you going to marry him when I love you so?"

Mary looked from one to the other in an agony of

indecision. "I dont — know " she said brokenly. "I

dont know — because I care for you both — and I cant even
decide whether I want to marry at all — one must be so

Mary gave one frightened cry, and collapsed in a tumbled heap on the ground. Hal went to
her, and Max and Tish came dripping from the lake in response. But Lynn got there first

sure — marriage must be the answer to the great question
we are all asking of life "

"I'm the answer to your question," broke in Hal.

Mary looked at Lynn and read more words in his
silence than Hal had spoken. "How can I know," she
went on. "which one I'd be happy with all my life, when I
dont really know either of you?"

"Oh, Mary," uttered Tish in a pleased and shocked
bass, "you're not going to spring that old one about living
with a man before you marry him?"

"N — no," quavered Mary, "but there ought to be some
way of finding out about people — some decent way "

"Sure, there's a way," broke in Tish again, "if you
have nerve enough to try it."

"Now this is a serious matter," said Mary, taking the
reins in her own hands once more, "none of the young
married couples now seem to love as our mothers and
fathers do : "

"That was another age," interrupted Hal.

"Well, yes," agreed Mary, "they decided things with
their emotions but we will settle the matter with our
intelligence. What is your plan, Tish?"

"You cant," said Tish, starting her long speech with
due solemnity and at an unbelievably low pitch, "choose
between Hal and Lynn, because you have no idea how
they'd wear from day to day. And I cant tell whether to
take Max or not, tho he's nearly driving me crazy propos-
ing and everything. So it seems to me the only sensible
thing to do is for all five of us to go away all by our-
selves for a few weeks and see if we wear well, or which
one wears the best. And then "

"Great !" exclaimed Max. "We can take my camping
outfit to Lake Roma."

51
PAS

<JE

TnMOTION PICTUR."
01 I MAGAZINE L

"I'ih for it," cried Hal.
"Well— -" hesitated Lynn.

"Let's do it," finished Mary, "let's do our experiment-
ing before marriage instead of after."

"It will be simply pr-r-riceless, you handsome devils !"
bellowed Tish amiably.

Naturally, paternal — or rather maternal consent was
withheld. Mary the First bridled with open antagonism,
Her conversation bristled with such words as "indecent,"
"outrageous," "immoral," "disgraceful." Mary the Sec-
ond thought the plan was "radical," and "dangerous," but
Mary the Third thought it was only "sensible" and decided
to do it, with or without her mother's consent, altho she
did not mention this last fact to her. Granny felt it
incumbent upon her to do something about it. "I think
Robert should be told," she snapped. "At least lie has
made some effort to make upright human beings out of his
children. You are too indulgent. Robert should ■"

"Robert should but Robert hasn't," retorted the gentle-
man's wife.

"Robert's attitude is right "

"Yes, he's always right. That's "

"Why, Mary, I should think you'd be proud to "

"Well, I'm not.
I dont know, any-
thing harder to
bear than having
one's husband al-
ways right!"

For once
Granny was re-
duced to speech-
lessness, but only
temporarily, for
when Robert
made his appear-
ance, the story of
the unchaperoned
camping trip was
told him with
many embellish-
ments, in the old
lady's best man-
ner. Robert
staged a proper
fit of indignation,
and blamed the
whole perform-
ance on his long-
suffering wife.
"It's all your
fault," he kept
repeating mad-
deningly and
Granny agreed
with him.

Hostilities declared a truce when Mary came into the
room for her mother to hook up her new frock. Mary's
color was high and her eyes like twin stars ; for Mary
was on the brink of adventure, of high romance, of the
ultimate solving of the great puzzle of life. Her black
velvet gown cut in a deep V down her pretty back caused
Granny to gasp with displeasure. It seemed almost as
tho Granny took some perverse delight in being annoyed
by things. Certainly, her grandchildren afforded her con-
siderable pleasure in that respect. But Mary's father
was holding forth : "Just let me hear of you going off on
this wild expedition, young lady — but I'm sure it's only
a lot of nonsense "

"All right, daughter," said Mary the Second, interrupt-
ing what she knew was going to be a tirade. "Dont be
late tonight, dear."
52

Moments of agonized waiting, eternities of regret and remorse, and the
closed eyes slowly opened. "Thank God," Mary heard her father say,
and then, "why did you take poison, Mary, oh, why did you do such a

terrible thing?"

LAl?£

"She ought to be kept at home tonight," said Mary the
First, " I think "

Mary the Third and her mother had walked to the front
door. There the older woman put her arms around the
younger and said with deep intent, "Remember, my dear, I
trust you absolutely, anywhere, under any circumstances."

Mary winced a little inwardly, but kissed her mother
sweetly and merely saicL "Thank you, mother." They
were leaving for camp as soon as they could get away
from the evening's party.

"/""*\ooh," breathed Tish in a mighty whisper, "Isn't this
^S simply gor-r-r-geous ? We certainly made a beauti-
ful get-away, and what time ! Sixty miles an hour is just
about my speed. I'll say the handsome devils worked too,
getting the tents up. Wonder if they're asleep?"

"Hope so," answered Mary, sleepily. Her enthusiasm
had abated slightly. She didn't like sleeping in tents.
Tish was so — so active. She had no gift for quietude.
They had all taken a drink, too, several drinks, all but
Mary and Lynn. Tish always had a thermos bottle with
her, it seemed. Hal never refused, either. She had
pledged both boys not to make love to her while on this

little jaunt and
both of them had.
She knew Lynn
didn't approve.
Both boys had
said no matter
how it turned out
they were going
to have her. She
felt confused and
cross and already
a little remorse-
ful. Lynn was —
right she guessed.
She decided she
was going to be
the one who
didn't "w ear
well." She
thought of her
mother and grew
more uncomfort-
able. Her mother
liked Lynn. Her
mother should
know men.
Hadn't she
picked Mary's
father? Didn't
they adore each
other? Wasn't
their way, after
all, as good as
any? The best way, in fact? She tossed restlessly on
her narrow cot.

"I simply cant sleep," said Tish. "It's too exciting."
She pulled open the flap of their tent and looked out. A
most provocative moon stretched a shining silver path
from the tent down the beach, across the lake, and lost
itself in the shadows on the far shore. "You old sinner,"
said Tish, shaking a joyous fist at it, "it's an ir-r-resistible
invitation, and you know it. I'm going swimming."

The man in the moon was seen to wink in a care-free
manner.

"Come on, you handsome devils," bellowed Tish, and

Max flew to join her. Hal, too, hurriedly got into his

bathing suit, but Lynn only looked to see if Mary had

gone to swim, too. Mary had not; she only looked to

(Continued on page 96)

JJEHIND Ramon Novarro's recent departure for
Italy to play Ben Hur is a curious story of a
"hunch" — or a premonition, or whatever you want
to call it. When he was a half-starved little extra
boy, trying to break into the Hollywood studios,
Ramon had a vision of himself as Ben Hur. Two
or three years ago, this idea became so fixed in his
mind that he had some pictures taken of himself
dressed up for the part. He has never wavered
from this conviction. Even when George Walsh
went to Italy to take the role, Ramon's mind was
serene. He felt that somehow or somewhere it
would be he who would play Ben Hur. Conse-
quently, when, at the eleventh hour, they sent him
a hurry-up cablegram, summoning him at once to
Italy, there was no surprise in the event for him.
He said he knew it all the time. It is the religious
significance of the story which, no doubt, appeals
so strongly to him. Ramon is a very devout church-
man, and, whenever he is in Los Angeles, acts as
choir-master for the little Catholic church of
Our Lady of Guadalupe

Do You

Believe
in

riunches

Ramon Novarro does —
and we picture herewith
a "hunch" that Ke Had
nearly three years ago and
w'hich has just come true

Critical Paragraphs

About
New Productions

Jimmy Hayden (Jacqueline Logan) with

the operator (Clem Beauchamp) in the

wireless room of the sinking yacht — a

dramatic scene from Code of the Sea

Code of the Sea

THIS would be a fine picture if the director hadn't
chosen to make Rod La Rocque such an awful
mollycoddle in the first part of it. Mr. La Rocque
discards his specially made clothes and appears as a
sailor who is cursed with a fear of the sad sea waves and of
anything that is the least bit dangerous. Feverish close-ups of
Mr. La Rocque and many, many subtitles inform us that it
isn't all our hero's fault — rather it is his father's, said father
having been cursed with
the same sort of fear.
But Mr. La Rocque is
painted such a coward
that it just isn't right.
We dont think any man
would stand by and
watch his sweetheart be-
come enveloped in flame
as her filmy dress gave
way before the ravish-
ings of a lighted match.
Great Lucifer, no !

All that follows sub-
sequently is highly real-
istic and sensational and
thrilling. Of course, Mr.
La Rocque proves him-
self, yea verily, he
proves himself mightier
than the ocean wave,
and the manner in
which he accomplishes
said proof is too good
to be set down here in
detail. Suffice it to say
that the technical expert
of the Lasky studio on
the Coast has contrived,
in league with the ele-
ments, to make a climax
to Code of the Sea that
tingles every little nerve
center in the h u m a n
machine. And then,
besides the untailored
Mr. La Rocque there
are Jacqueline Logan
(oh, such eyes!) ; Lefty
Flynn (dignified with
54
GE

Compson
some dare-
aquaplan-
in Miami

In this scene from The Bedroom Window, two

hard-boiled detectives are giving Delano (Ricardo

Cortez) the third degree in the sham banker's

bedroom

the praenom'en of Maurice!), George
Fawcett, Charles Ogle and numerous
other artists and lots of picturesque
scenery — all under the direction of
Victor Fleming.

Tne Bedroom Window

"X/Tania for a "box-office" title evi-
■*■ ■*■ dently led Paramount officials to
name this original murder mystery
story of Clara Beranger's The Bedroom
Window. Neither the bedroom nor its
window has much to do with the plot.
Miss Beranger's story is a case of
"Who Killed Cock Robin ?" Mr. Robin
being, in this instance, a wealthy in-
dividual who is found murdered. The
fiance of his daughter is suspected. The
unraveling of the mystery is adroitly
managed, and he is wise, indeed, who
is able to fix the blame before the
picture itself chooses to release the
secret.

May McAvoy, Malcolm MacGregor
and Ricardo Cortez handle the usual
three principal roles. Ethel Wales, who
plays the part of a writer of melo-

dramatic magazine stories is, however, the chief figure. Miss Wales
is excellent. Her opportunities for comedy and for the creation of
suspense are manifold and she avails herself of all of them in
extremely competent fashion. William de Mille directed the pro-
duction. From the title, one would suppose that his brother Cecil

«°K;£ UR R

had a finger in it.

iami

r T T His is what we would call a warm weather picture. It stretches
•*■ credulity in plot and characterization — which compels us to take
interest in its background. The picture is rightly named, for it offers
unusually attractive settings and atmosphere. -Looking at Miami's
shore is as cooling as an electric fan. And Betty Compson keeps up
the illusion as she goes aquaplaning thru the water. We are
treated to several shots of Betty in her bathing-suit and other robes
— and she is very, very easy on the optic nerve.

The story has to do with some crazy adventures by bootleggers —

A scene from The Turmoil, in which the sister-
in-law (Eileen Percy) of Mary's (Eleanor Board-
man) rich suitor, accuses her of having set a
trap for him deliberately

adventures which are punctuated
with tid-bits of romance. It follows
the usual triangle lines. It may defy
logic, but it is executed with so much
snap and verve that the interest does
not lag for a moment. The crazy-
quilt plot — similar to a serial — will
give you many laughs — and perhaps
a few thrills.

But you wont be bored.

Wand

erer

of the Wasteland

T-Terewith is presented a picture of to-
morrow. Wanderer of the IVasteland
has been photographed by a new natural color
process which brings to the screen the true
color of both landscapes and, in the closeups,
facial complexion. From the point of view
of advancement in the art of cinematography,
this production marks an advance so distinct
that it is exceedingly hard to estimate it
accurately. Given the color of this picture,
the reproduction of the voice which Mr. Lee
DeForrest is improving this very day, and
the illusion of the third dimension which
stereopticon producers have been striving for,
for so many years, and the motion picture
will have been perfected to the last degree.

In Wanderer of the W'asteland, Desmukes

(Noah Beery) tells Adam Larey (Jack Holt)

that he's thru with traveling and is going

back to the desert

Both as an example of the best in natural colors and as an
entertainment, Wanderer of the Wasteland leaves very little
to be desired. The story is a Western, and simple in con-
ception and development. There are times when, in black
and white, it might lag, but with the gorgeous color effects it
always remains a treat to the eye and to the senses. Jack
Holt, Billie Dove and Noah Beery handle the three principal

roles; the latter

Bryant Washburn
as a sandwich man
makes Try and
Get It very tasty
fare

player being partic-
ularly effective in his
role of the old miner.
Irvin Willat directed,
and the story is de-
rived from one of
Zane Grey's works
of fiction.

The Turmoil

T> ooth Tarking-
ton's widely
read novel adapted
to the screen becomes
just as interesting
in the movies as it
was between the cov-
ers of a book. There
are many who con-
sider the novel his
finest pen picture
of American family
life. It has been
transplanted to the
silversheet with all
its dramatic situa-
tions, its thoro un-
derstanding of
human nature, its
clever depiction of
everyday experi-
ences in thousands
of family circles in
these United States
— and with a climax
of real power that
shows the bursting
a huge dam, n
55 P

PA fill

f'sMOTION PICTURF
B! I MAGAZINE L
causing the death of one of the sons and destroying a big
power plant and everything else in its path.

The climax, to us, is not so important as the building
up of the theme- — and the excellent manner in which the
director has established the human value. This director,
Hobart Henley, is perfectly at home with Tarkington.
You may recall that he also picturized The Flirt. The
acting is highly competent. George Hackathorne in the
role of Bibbs is the character that Tarkington must have
had in mind when he wrote the book. Emmett Corrigan,
Eileen Percy — and the others are perfectly cast —
especially Mr. Corrigan. The film releases a convincing

In Hold Your
Breath Dorothy
Devore chases a
monkey all over
the front of a sky-
scraper to recover
a valuable bracelet

atmosphere,
ment here.

We feel sure you will find rich entertain-

Try

<1 Get It

r I 'his is one of those Saturday Evening Post stories on
■■■ how to be successful in business. If every business
man had a nice little Satevepost obstacle in front of him,
and the heroine (of course, the rich man's daughter) just
a bit behind the obstacle, what a whole lot of phenomenal
successes the world would contain ! Try and Get It is

And everywhere

that Dorothy goes

the policemen

go too

Pat O'Malley has to endure some hard knocks in
The Fighting American — an excellent picture

extremely light fare
and extremely pleas-
ant. Interludes of
romance and laughter
are nicely inter-
spersed. The whole
thing moves at a
lively pace.

Bryant Washburn
and Billie Dove are a
fine pair of battling
lovers. Lionel Bel-
more registers his
comedy delightfully.
It's all about a bill
collector, ordinarily a
most unromantic in-
dividual (as we all
know), but in this
piece of celluloid fic-
tion he's fine and our
sympathies are with
56

him to the last penny. And that is marvelous writing. We
herewith doff our spotted straw to Eugene P. Lyle, Jr., the
author, and to Cullen Tate, a director more or less unknown.

Hold Your Breath

T_Tere is one of the Christie feature-length comedies — and,
-■• *■ all things considered, it is a creditable piece of work. The
picture starts out with a steady pace, gathers speed as it gets
into the stretch and comes under the wire at the finish with a
climax that makes it a real winner as a laugh as well as a
thrill maker.

It contains a heap of comedy situations. Witness a girl
reporter chasing a monkey all over the front of a sky-scraper
to recover a valuable bracelet, as the police, in turn, chase her,
while her lover drives up first with a wagon-load of mat-
tresses and then with a load of hay so that his sweetheart

will have a soft place
upon which to fall.

The opening scenes
have to do with
beauty-parlor activi-
ties and the younger
set will enjoy these
moments which are
filled with merri-
ment. Then follow
some striking war-
time shots and more
fun as Dorothy
Devore — elevated to
stardom here — getting

Bert Lytell as the
heroic young sheik,
and Claire Windsor
as the beautiful cap-
tive, in A Son of the
Sahara

A Son of the Sahara

^M°^offi UR j\

The dusky maiden of the South Seas (Laska
Winter) threatens her white rival (Leatrice Joy),
while the object of the quarrel (Percy Marmont)
tries to pacify them — all this happening in
The Marriage Cheat

Edwin Carewe, the director, transported an entire company
of players and a complete technical staff to Algeria, Africa,
in order to make A Son of the Sahara. During the production
of the picture, word was received hereabouts that the desert
scenes procured by Mr. Carewe and his associates were far and
away better than anything that had ever been done in Oxnard,
California, and Montauk Point, Long Island — the breeding-
places of our local deserts.

Nothing much out of the ordinary reveals itself in the
stretches of film that comprise the picture. The scenes and the
settings might well have been duplicated domestically. The
photography is rather flat and the settings bespeak a meager
scenic department. Why didn't Mr. Carewe show us the real
Sahara instead of the usual celluloid version of it? Being on
the spot, he surely had the opportunity, or did a sand-storm
conveniently intervene ?

Claire Windsor as the heroine, Bert Lytell as the hero (who,
of course, discovers in time for a happy ending that he isn't a
sheik, but a Frenchman), and Walter McGrail as the villain,
struggle along with roles that are altogether stereotyped, in an
altogether stereotyped production.

a job as a girl reporter, snaps the mayor with a chorus girl, and
rushes back with her "scoop" only to find that His Honor owns
the paper. The hilarious finish will send them away laughing.
Miss Devore has a big company supporting her — with all the
roles capably acted.

The Fighting American

A n excellent idea with excellent results achieved — that is The
•^"^ Fighting American. No, you aren't in for a dry piece of
propaganda. Quite the opposite. Here is a picture that takes
the time-honored figure of the title, the American with stick-
to-itiveness, and the usual plot in which he chases the heroine
half-way around the globe and interferes with a couple of
revolutions in her behalf before he wins her — it takes these two
familiar properties and satirizes them to a fareyewell. With
Pat O'Malley, Mary Astor, and Raymond Hatton in the chief
roles, it unfolds its story energetically and humorously from
first to last. Mr. Hatton, in particular, is outstanding in a dual
comedy role.

William Elwell Oliver is the author of the piece. Mr.
Oliver's manuscript was selected as the prize winner in a
contest recently held
by Universal. Mr.
Oliver's work should
earn him position and
many ducats. And
whoever the judges
were — well, they were
unusually brainy boys
and girls. Judges
usually blunder more
than the rankest of
the contestants. These
didn't. Harvey Gates
prepared the scenario
from Mr. Oliv.er's
story and Tom For-
raan directed.

The dance of the
moth (Barbara La
Marr) and the spider
— a dazzling scene
from The White Moth

Milton Sills in The Sea Hawk, the finest picture of

the month, tries to explain his action to the girl he

has kidnapped (Enid Bennett)

The Marriage
Cheat

' I ' here isn't much
■■" variety of plot
concerning stories of
the South Seas. Most
of them are founded
upon well-established
formulas — which
probably inspired
Thomas H. Ince to
take his company to
the actual locale of
the narrative so that
it might carry a
genuineness of back-
ground in compensa-
tion for a rather trite
and obvious story.
It bears a certain
(Continued on page 85)

57
PAG

Melbourne Spurr

Tke Richest Woman in tke World

This woman is Irene Rich, but she places her great finan-
cial success at the bottom of her list of riches; at the top,
she puts her two lovely daughters, Jane and Frances, and
then come health, numberless friends, and a host of
admiring fans

.AGE

-• -

■

Jfl

?<y ^m

gg^Xfl

$%**-■■

Russell Ball

DICK AND HIS MOTHER

There is a very fine friendship between these two. Mrs. Barthelmess

has been her son's wise counselor since his first venture into the field

of the films, back in 1916

RAfi

TR5KE

"How do you like the movie industry?" I asked the Big
Editor that the Big Producer had put on a Big Salary
to wait for the Big Job. "It's a great business," he re-
plied; "I hope nothing happens to it!"

There's Only One Business Like It

MANY stories are told of efficiency experts and
others who have entered the film business with
the intention of putting it on a sound business
basis. So far, none has succeeded — nor is any
likely to succeed. There are certain irregularities in the
movie game that will never be overcome, and some indi-
viduals are quick to discover this.

A few months ago one of the big film companies en-
gaged a New York magazine editor to take a position in
its scenario department. Without asking the editor what
salary he wanted, the company made him an offer which
amounted to just three times what he had been getting.
He quickly accepted, and a short time later found himself
in Hollywood ready to start to work.

At the studio, however, he was informed that they had
nothing for him to do at the moment and that he 'could
enjoy himself until they sent for him. So the editor
toured about the town, went to the beaches, the golf clubs
— and enjoyed himself generally. Time passed rapidly
and still he was informed that he was not yet needed, and
to go on with his fun. Yet each week he continued to get
his fat pay check.
I met him recently
and he is still draw-
ing a big salary and
doing very little work.
I asked him what he
thought of the motion
picture industry. He
was enthusiastic.

"It's a great busi-
ness ; I hope nothing
happens to it!" was
his reply.

nM^

Keen Comment by TAMAR LANE

Lloyd Hamilton could establish himself as one of the
screen's greatest comedians. During the past two or three
years Hamilton has been knocking about in unpretentious
two-reelers — some of which have been good and some of
which have been very mediocre — but in each and every
one this comedian has shown distinct signs of personality
and real comic genius.

In A Self-Made Failure, recently completed First
National feature, Hamilton not only does some excep-
tionally fine humorous work, but he puts over bits of
pathos which rarely have been surpassed by any of our
screen comedians. For subtlety, depth of feeling, and
variety of expression, Hamilton proves that he excels
every comedian in the films today, with the exception
of Chaplin.

A Self-Made Failure is one of the brightest and most
enjoyable knockabout comedies seen in many months.
It is a distinct novelty, and filled with many delightful
human touches.

Lloyd Hamilton
Arrives

"Cor quite some time
■*■ I have nursed the
opinion that, if given
the proper vehicles
and co-operation,
'60

The Superiority of Screen Villains ■

After all is said and done, the movie villain is a very
•£*• superior creature to the movie hero. He is more
daring, more resourceful, and even more interesting. He
is absolutely fearless and fights against great odds, know-
ing all the time that he will never be allowed to win out
in the end. He lays all kinds of brilliant plans, and makes
a fool out of the hero, all thru the major part of the
picture. He also makes great sacrifices and will go to
any extreme for the girl he loves.

Really, after giving both the villain and the hero due
consideration, it is a wonder that some of the heroines
do not decide that the villain is the more attractive man
of the two.

The villain fights a lone hand, and when the hero finally

defeats him it is
only with the
combined help
of the police de-
partment, the

The Hero fi-
nally defeats the
Villain only
with the com-
bined help of
the police de-
partment, the
U. S. Cavalry,
the Secret Ser-
vice, the long
arm of coinci-
dence, and the
hand of God

THSKE^

Qut>

WVtA Sketches hy Harry L. Taskey

U. S. Cavalry, the Secret Service, the long arm of coinci-
dence, and the hand of God.

"Doubles" for Animals the Latest

The making of motion pictures has become such a
precarious occupation that nowadays everybody and
everything has a "double" that is called upon to do the
risky stunts. Even the animals have doubles. A famous
shepherd dog movie star has two doubles to perform
some of his risky business for him. Then there's even a
monkey that has a double in the films. The most
"doubled" star on the screen, however, is the famous
horse of an equally famous Western movie celebrity, that
has no less than four horses to double for him in various
stunts. The horse star is, of course, far more capable and
intelligent than any of his doubles. The latter are used
merely that the famous pony may not be exposed to
dangerous injury.

Rudolph Valentino and Monsieur Beaucaire

Tt will be interesting to watch what effect the film,
-*- Monsieur Beaucaire, has upon Rudolph Valentino's
popularity. There is no doubt that the picture itself will
be an immense success and probably break many box-
office records. The star's admirers have been impatiently
awaiting his return to the screen.

But what after-effect may Monsieur Beaucaire leave in
its wake? From certain angles it would appear that a
mistake has been made in presenting Valentino in such a
fancy, "dressed up" role for his first new film. While the
female portion of the country is no doubt going to think
Rudolph "just grand" and "too
wonderful for words" in his
white wig, silks, laces and satin
knickerbockers, the men are not
going to take to the "dolled up"
Rudolph so enthusiastically.

While the female
portion of the
country is no
doubt going to
think. Rudolph
"just grand" and
"too wonderful for
words" as Mon-
sieur Beaucaire,
the men are not
going to take to
the "dolled up"
Rudolph so en-
thusiastically

In the movies hus-
bands eventually
see the error of
their ways and re-
turn happily to
their wives

Is it not more likely that the virile sex is going to seize
upon the Monsieur Beaucaire as a long-desired excuse to
sneer a little at the great Italian star? Even during the
big Valentino rage of a year or two ago, Rudolph's
popularity was mostly with the American women and not
the American men. The latter, after hearing their wives,
mothers, sisters and womenfolk in general constantly sing-
ing the praises of the irresistible Valentino, finally began
to acquire a subconscious jealousy of the famous "sheik"
and regarded him as a sort of phantom rival.

Because of the fact that all Valentino's previous
vehicles have presented him in vigorous he-man roles, he
has not left himself open to criticism on the part of the
male theatergoers. But Monsieur Beaucaire may tell a
different story. Much will depend upon how the star
enacts the role.

They Do It in the Movies

T-Tusbands always eventually see the error of their ways
■*■ •*• and return happily to their wives.

All foreigners, when introduced to some fair lady, im-
mediately and fervently kiss her hand.

All burglars repent and return the family silverware to
its rightful place when they are confronted by little

Willie in his pajamas.

Famous specialists never
fail in their surgical opera-
tions, and the patient al-
ways recovers his sight or
hearing.

Trs ke/

Ben Hur Is Having His
Troubles

A ccording to "inside re-
**"*■ ports," all is not going
so well with the Ben Hur
company now in Italy.
Not only is the Goldwyn
troupe having difficulty in
building its sets, but so
{Continued on page 86)

PAG

W. F. Seely

Paul Grenbeaux

Presenting six pieces of evidence that Mary Carr is supremely
qualified to play mother roles on the screen

Mary Carr

ana the

Wasted Generation

By
HELEN CARLISLE

W. F. Seely

BELIEVE," said Mary Carr, "that Youth
always has and always will revolt against the
dictates of the passing generation. Without this
revolt there would be no progress."
were sitting in her dressing-room at the United
Studios in Hollywood, where she is engaged in mother-
ing Claire Windsor in the First National production.
For Sale, Mrs. Carr, fashionably clad and looking much
younger personally than she screens, sat erect in a wicker
chair, her hands clasped quietly in her lap. Hers is a
beautiful repose.

"I do think that the present generation has gone rather
far in its upsetting of established conventions, but in
many cases where young people have gone to unfortunate
extremes, I believe the fault lies with the parents rather
than the children.

"Since the earliest days of civilization, probably, it has
been the conviction of most parents that their children
were lax and unruly in many ways, and they have tried
to curb impulses toward independence of thought and
62
Gf,

action. With what result? Among the more docile of
the young people such restraint caused the stifling of
individuality. In stronger characters it bred revolt.

"This revolt, as I say, brings progress, but progress
hardly won. Why cant parents treat their children as
individuals? Human beings," added Mary Carr with a
smile, "are not turned out with a cooky-cutter."

"What progress," I asked her, "do you think the
present generation has brought the world?"

"Frankness," she answered promptly.

"Why, my dear, just think of it! Twenty-five years
ago a girl wasn't supposed to possess such a thing as a
pair of legs. We wore mounds and mounds of clothing
to cover them. And can you imagine the young people
of that day talking about sex-appeal, or reading, openly,
such books as you read today? Altho underneath this
surface of modesty and propriety there was plenty of
skulduggery going on. dont doubt it!"

That's what she said. Skulduggery. The dictionary
gives it no place, but it is a highly descriptive

word, I'm sure, and as Mrs. Carr used it, most delightful.

"There is so much talk about the flapper, today," she
continued. "Everyone seems certain that some awful
fate is in store for her. Now, as for me, my sympathies
are all with the .flapper. I was one myself, when I was
a girl,.tho they didn't call us flappers then. I lived in
Philadelphia, and my parents sent me to Normal School
there. I was, if you please, to become a school-teacher.
But I revolted, and went on the stage. My people all
thought me everlastingly lost, for, you know, in those
days, every actress was considered a person of low
morals."

Thus Mary Carr, flapper of twenty-five years ago,
today the best loved "screen mother" in the world, and
at home the mother of six handsome children.

"If parents would respect their children as individuals,
there would be a bond of sympathy between them that
cannot possibly exist otherwise.

"Why should a mother fret because her daughter
wishes to bob her hair, for instance? Bobbed hair is
healthy, and it is becoming to most girls. One of my
daughters wanted to bob her hair. She came and told me
so, and I said, 'All right; you really have too much hair,
anyway. Go and have it cut off.' She did, and she looks
lovely, I think.

""V/Ty children always make me their confidante. They
•*■ ■*■ come to me with all their problems and I advise
them and discuss things with them. But I do not dictate
to them. Young people need a guiding hand, but sup-
pressing them or
forcing them is
apt to prove dan-
gerous.

"We are faced
with quite a prob-
lem at home, right
now," she added
with a smile. "Not
one of those six
children of mine
shows the slightest
interest in any
career other than
a theatrical one.
They have been on
the stage, more or
less, all their lives,
and they're all de-.
termined to stick
at it. Well, I am
not going to force
any of them into
work which would
be distasteful to
them. They must
live their own lives.

"It's the same
way with every
other problem.
Personally, I dont
like to see girls
smoke cigarets.
Most mothers
dont. But if my
daughter starts
smoking, I dont
raise a storm over

it. It is much bet- l ... _ .. -

ter for her to do it w - F - SeeI y

openly, than to be Mary Carr with two of her best

secretive about it." Emory

WraUHCT

"But if one of your children displayed really radical
tendencies," I asked, "what would you do about it?
Would you try to curb the impulse which, from your
wider experience with life, you know to be harmful ? Or,
regarding him as an independent individual, would you
let him do just as he wished?"

Mrs. Carr's lips set firmly.

"I have devoted the years to fostering in them the
sense of fair play," she said. "I've taught them that the
unity of the family is dependent upon the actions of each
member of it. One member can destroy that unity.
When the family is destroyed, the home is destroyed.
W'hen the home is destroyed, the nation is destroyed.
I've tried to make them feel their responsibility as units
of one great Whole.

"If one of them endangered the strength of the family
by waywardness, I would go to him and say: 'Now, see
here. You're being rather selfish, dont you think?
You're pulling away from the family and jeopardizing
its security. I've always played fair with you, and I
hardly think it is game of you to fail me, this way. How
do you feel about it ?' "

Well, fellow members of the much-advertised "wasted
generation," how would you feel toward a mother like
that ?

"V/Tary Carr laughs at the idea that the present genera-
"*■ A tion is wasted, or going to the bow-wows. She is
serenely certain that each new century dawns upon an
improved world, rather than a degenerating one. Her

mind is calmly
balanced.

It is unfortu-
nate, yes, that
some of today's
young people have
gone to the ex-
tremes they have,
but the great ma-
jority of them,
Mrs. Carr knows,
are all right. All
right. Underneath
their frivolities
and their brave
array of youthful
vanities and ab-
surdities, she sees
them clean, sane,
sound.

The world is
progressing, says
Mary Carr.

I wonder some-
times who the true
philosophers of
this world really
are?

Are they the
bearded lads who
sit secluded in
some comfortable
study, penning
words of wisdom
to be encased in
neatly bound vol-
umes and, all in
due time, handed
on to a respectful
Posterity ? These,
undoubtedly, are
(Con. on page 102)
63
PAG

friends, Mrs. Emilie Johnson and
Johnson

Francis X.
Bush man
(above) gives
the signal to
son Richard
to "Play Ball!"

Mary Joana Desmond and
merry William Desmond

GS.

Above, Adolphe Menjou and his son and "Maggie" are engaging in a free-for-all
romp, while Pat O'Malley and his two little daughters look the camera straight

in the eye

FATHERHOOD

rHESE father-persons — they are awfully dear,
There's something in the way they say
"My son!"
So careless-proud, as if they almost fear

The still delight paternity has won.
They see their boyhood in a child's clear eyes,

And for their daughters know a tenderness
Half-silent worship, that unspoken lies

In their least laughing word or light caress.
Oh, they are proud, these men, they seem to see

A wider goal than loving women do,
Their children are their immortality

That carries on their name, and life, anew.

— Faith Baldwin

Barbara, Reginald
Denny's daughter,
says she is going
to be her daddy's
leading lady in the
pictures when she
grows up

At the right, we
present Mrs. Jack
Holt, the only
mother admitted
to these pages —
but Baby Betty
wouldn't be snap-
ped without her

Here are two of
the best reasons in
the world why
Harry Carey is a
happy man — they're
named Ella Ada
and "Dobey"

Jack Holt surely
looks the part of
the Proud Papa to
perfection. And
Jack Jr., Betty and
Imogene look both
pleased and proud

Jack Dempsey
is downed at
last, and by a
1 i g h t-weight
champion at
that — little
Edwin Hubbel,
the Pampas
starlet

Reading from left
to right (seated), May
McAvoy, Leatrice Joy,
Raymond Griffith, Director
George Melford, and (standing) Evelyn
Francisco, Antonio Moreno, and Robert
Edeson — all are watching Agnes Ayres
play a scene in her own new picture,
The Guilty One

Above is a famous European, who
is working in Hollywood incognito,
under the name Charles Puffy. His
first part is that of the fat Chef in
Rose of Paris. Director Irving
Cummings is coaching him

Lois Wilson and William
Farnum present the balcony
scene from Romeo and Juliet
while waiting for a set for
The Man Who Fights Alone
to be made ready

On trie Camera Coast

THERE seems to be a concerted clash for Europe. Dimitri
Buchowetzki, who has been directing Pola Negri, is to leave for
Paris as soon as his picture is cut. This is Sudermann's Song of
Songs, which is to be called The Passionate Journey, for screen
purposes. Buchowetzki is trying to get the State Department to make
him a solemn promise that he can come back again after he mingles with
Paris. His embarrassment is that he has a queer passport. It was issued
to him by a consul of the old Russian regime. Consequently, it is valid
only in countries which have not recognized the Bolshevist

rnst Lubitsch is just finishing Three Women

with Pauline Frederick, May McAvoy and

Marie Prevost ; and will move over to the

Lasky studio to direct Pola in one picture —

a modernized version of The Czarina.

In the last scene of Three Women, the
dignified Miss Frederick had to slide down
a long toboggan chute, such as they use in
swimming-pools, with an evening dress on.
She was a good sport and did it with a laugh.
The lovely Pauline has been working her-
self to death. She has been reporting every
morning at the studio at eight o'clock and
rehearsing all night on a stage play, Spring
Cleaning, in which she is to play a limited
engagement at a local theater. She says that,
when she gets thru with it, she is
going on .a long horseback trip thru
the High Sierras to recuperate. With
Blanche Sweet, the remedy for all
human ailments is to retire to a dairy
farm and drink milk. With Pauline
Frederick, it's a good horse and a cow
saddle — and solitude.

"pLORENCE Vidor is playing Barbara
Frictsche in the picture made from
the old Clyde Fitch play ; and with a
curl hanging down over her shoulder,
and wide hoop skirts, she is just
about the loveliest picture imaginable.
She was making one of the
big scenes on Friday, the
thirteenth of June. They got
along swimmingly until they
came to the thirteenth scene.
That was straining the jinx
too far. The camera broke.
When this picture is fin-
ished, Miss Vidor is to play
the lead in another Ince pic-
ture — Christine of the
Hungry. Heart, by Kathleen
Norris. In the course of the
story she is married to two
men and has an affair with
a third. Which is certainly
a breathless departure from
the usual chemically pure
Florence Vidor pictures.

Jacqueline Logan has at
last her heart's desire.
During her whole screen
career she has played parts
in which her wardrobe con-
sisted of rags and gingham

Ben Turpin, in his latest comedy, Yukon

Jake, presents to his opponents a perfect

poker face

Harry Carr's department of news and
gossip of the Hollywood picture folk

dresses. She had about made up her mind that she was under a life-
sentence to be a waif. She has just been cast for the lead in The House
of Youth, to be made at the Ince studio. In this she plays a. super-
flapper; clothes and nothing but. . . .

One of the roles in this picture will be played by Lucile Mendez —
said to be a daughter of ex-President Castro of Venezuela.

T)oLA Negri has stirred up Hollywood again; this time by resolutely

* picking what she says are the only six actors and actresses

of the screen who can really act. Her list of immortals

are Lillian Gish, Norma Talmadge, Mary Philbin,

John Barrymore, Ramon Novarro and Rudolph

Valentino. She has also picked out what she

considers to be the only directors of real

genius, as follows : Charlie Chaplin, Ernst

Lubitsch, Rex Ingram, Dimitri Buchow-

etzki and D. W. Griffith. It will be noted

that a painful vacancy exists where should

be the names of some of the directors

who have directed Pola's destinies since

she has been in America.

"V/Tary Miles Minter, who runs second
■*■■*■ to Mabel Normand as the stormy
petrel of the screen, is in trouble again. A
couple of troubles. A bench warrant was issued
for her because she neglected a speed cop's sum
mons when she airily wafted past a
congested corner at thirty-seven miles
an hour ; and her housemaid brought
suit against her for damages. The
estimable Miss Herlihy who formerly
cooked for Mary was arrested at
Mary's behest one night by the Pasa-
dena police. Mary said she was dis-
turbing the peace ; but Miss Herlihy
said she only was remonstrating
because Mary was entertaining too
many guests. Anyhow, Miss Herlihy
resented being arrested some $20,000
worth.

Mabel Normand, by the way, made
a sensational reappearance at
the trial of her former
chauffeur, Horace Greer,
who shot a young man
named Dines, at whose
house Mabel and Edna Pur-
viance were being entertained
last Christmas. It was sup-
posed that Mabel had gone
East to avoid testifying in
the case when she suddenly
breezed into the court-room
with a cheery, "Well, I'm
here." Mabel says she is go-
ing to continue her work of
making personal appear-
ances, and may be a long
time away from the screen.

A thrill went thru the
^*- Prohibition Enforce-
ment office recently when a
detective found out that
Charlie Chaplin had a still in
his house. Taking advantage
(Continued on page 78)

J. C. Milligan
Dorothy Mackaill
helps the Mayor
of Los Angeles
to clean up the
town, by mop-
ping the steps
of the City Hall

Glenn Hunter proves
to be as popular with
the stars in the West as he
was with those in the East.
Here he has captured May McAvoy,
Patsy Ruth Miller and Lois Wilson

Wallace Beery, in the costume he wears in

The Sea Hawk, proves that he's a far better

pirate than fiddler

Director Frank Borzage and Alice
Terry had a farewell chat with
Ramon Novarro, just before he left
for New York and points farther
East — Italy, in fact

Charlie Murray, one of the
most interesting characters in
Sundown, says he'll be well
qualified for the post of hotel
dishwasher, by the time this
picture is completed

67
PAG

When You Go

to the

Movies

Over There

We Americans believe our Metropoli-
tan motion picture houses to be the
last word in grandeur and comfort, but
they cannot compare with those in
many of the large cities of Europe

By
GRETCHEN DICK

Poster Illustrations by Vyvyan Donner

There was nothing left but a one-million-five-hundred-
thousand-mark seat — so I had to pay thirty-five cents
after all

In Gay Paree

IT is usually the biggest theater or the bigger group
of theaters that we hear about either at home or
abroad, particularly from those who go overseas to
report what they have over there that we do not
have here in America. I am not going to do this, possibly
because from the standpoint of efficiency, comfort,
general management and musical program, very little,
if anything, excels home-brew, in the big theaters.

Now it does not matter that we saw Norma Talmadge,
Mary Pickford, Harold Lloyd,
Bebe Daniels, Mae Murray,
Bill Hart, or Charlie Chaplin,
for we see them everywhere,
no matter in what country, but
it does matter in what sur-
roundings we saw them, for
the right setting can enhance
one's joy over one's particular
favorite.

The first three-sheet
stretcher which greeted my
eye as I emerged from the
Gare St. Lazare on arrival in
Paris was the announcement
of Rita Weiman's picture
which the French call When
the Curtain Falls instead of
Curtain. As this author is a
friend of mine, I decided to

A dainty little French maid
in a black-and-white taffeta
costume dashed up and re-
lieved me of my hat and coat

'68

\0£

visit this little theater upon the side street, which the
three-sheet adorned.

Having bought my ticket at the usual little conventional
booth outside, I fairly gasped as I entered, for I found
myself in a completely mirrored lobby- with a dozen or
more perfect little mannequin attendants, immaculately
uniformed, as were lackeys. I thought I had suddenly
been transplanted to the great hall of mirrors in Ver-
sailles, and I wouldn't have been surprised had I stumbled
onto the table of the peace treaty, completely attended by
the international diplomatic corps. It seemed almost
too beautiful to be true.

Suddenly, as if Alice in Wonderland had shifted the

(^-.MOTION PICTURn

\M I MAGAZINE V\

scenery, the little mannequin attendants — who looked to
be not a day over twelve years of age — dashed up to me
in pairs, each one trying to get my ticket in order to find
my seat, or otherwise be of service. While I was trying
to decide which youthful automaton I would condescend-
ingly permit to escort me to my chair, two dainty
little maids, in black-and-white taffeta dresses and real
lace aprons, dashed up and relieved me of my hat and
coat. Simultaneously, a third presented me with a claim
check for both.

The inside of the auditorium more than equaled the
mirrored lobby, for the theater was built very much on
the same lines as
Napoleon's little his-
toric playhouse in the
right wing of the
great Palace at Fon-
tainebleau, just out-
side of Paris. Like
its historic ancestor,
it had a tiny little
balcony, shaped like a
horseshoe, with par-
allel benches around
the upper walls. The
back walls of the bal-
cony were hung with
huge, very beautiful
tapestries, not only
historic in design but
priceless in value.
These tapestries were
lovely enough to be
compared with many
of their Aubusson
brothers that are now
covering the walls
of the state apart-
ment at Windsor
Castle on the Thames.

The orchestra, also, bore a strong resemblance to
Napoleon's Theater, for the seats were the salon variety
of comfortable armchairs, softly upholstered in old velvet.
So strong was the comparison between this little modern
side-street theater and the one of historical splendor in
Fontainebleau that it did not seem possible that one was
actually looking at a modern movie. The picture came
and went, and Bill Hart dashed off for many hundreds
of miles, before I realized that I was not living retro-
actively in the years of long ago.

The orchestral pit was very small and had only one
musician, a pianist, who played on a funny little upright
piano with old side sconces attached near the music rack,
very much like the one which is still in the pit in Fon-
tainebleau. It seemed almost too incongruous to see a
modern little French flapper pianist seated at this piano
trying to play the movie's adequate descriptive, modern,
American music. But then, everything was so vividly
contrasted that nothing should have seemed an incon-
gruity. As we left this enchanting little French cinema
house, we looked back and watched the pianist, who was
so engrossed with the American movie that she was
skipping notes and even pages of her music.

A Moving Feast in London

'|'he London movie houses boast of all the comforts of
•■■ home, for one really enjoys nearly as many privileges
in the theaters as one does in a private apartment. There
are not only little tea-rooms, large restaurants, and liquor
bars attended by the proverbial pretty English barmaids,
but there are also many dainty little black-taffeta cos-

While you are watching the screen, little uniformed maids bring
you a pot of tea, or a demi-tasse, or a long, cold drink

turned girls, dressed like parlor-maids, with linen and
lace caps, cuffs, and apron, who come and serve you as
in the days of San Toy, with "tea and ices and soda."

While you are watching the screen, these little maids
bring you a dainty little tray with a cold ice, a hot orange
pekoe, or a lemon squash — the latter being our American
lemonade. (Caution: If you order an American lemon-
ade, you get what the English call pop, which is quite the
most disagreeable imitation-lemon concoction you have
ever tasted.) In the evening, you may even have your
demi-tasse of black coffee, if by some mischance you
have missed it at home in your rush to get to the picture.

This tea-room ser-
vice is not only ob-
served in the big
Stolls theater, which,
by the way, was
originally Hammer-
stein's opera-house on
The King's Highway,
but also in the smaller
theaters in the out-
lying districts, out-
side of the big cities.
In the little thea-
ters thruout the rural
districts, and at the
various seashore re-
sorts, we find our old,
jomewhat primitive
method of popular-
izing of the latest
song hit, such as we
had many years ago
in this country.

Over there they do
not give the elaborate
scenic sets, colorful
stage pictures and ex-
cellent vocal interpre-
tation that accompany operatic arias and ballad songs,
such as we produce in most of our American theaters.
They use a rather crudely colored plate, which is flashed
on the screen between pictures, and which gives the words
of the chorus just in time for the audience to join in the
refrain.

I thought the people took an over-exuberant, almost
childlike, delight in taking part and joining their voices
with that of the professional illustrator, particularly
when the song was about flowers, and the singer would
come out on the stage and throw the flowers to the audi-
ence. Imagine our consternation when we found several
houses were singing our American song about the fruit
shortage. Yes, We Have No Bananas, and to find that,
during the refrain, the singers would throw bananas into
the audience. This outburst of English temperament —
the delight in "playing theater," so to speak, with the
professionals — surprised me very much, for the English
have not, as a rule, either a temperamental or an exuber-
ant nature.

How They Do It in Berlin

The distinguishing feature in the Berlin movie houses
x is the personality of the architecture and interior
designs. Such wealth of art individually, and artistic
design generally, is not found anywhere else. Hand-
some brocades, mirrored halls and walls, priceless tapes-
tries, and colorful curtains, abound. For originality in
decoration, freshness of idea, and modernism in the best
sense, we can safely say that the Berlin movie houses
excel those of almost any other city. *

(Continued on page 90)

r,<>

PAG

Trailing the Eastern Stars

Tke latest nev?s about motion picture people
v)\\o drift in and out of tke Studios in tke East

B$ DOROTHEA B. HERZOG

Gustav von
Seyffertitz, the
popular motion
picture actor, re-
turned from
Europe re-
cently, after
completing a
new picture for
Goldwyn- Metro,
all the scenes
of which were
made abroad

International Newsreel

FIRST of all, you may be inter-
ested to know that Valentino
will do a tango in his new pro-
duction. Yes, in about the same
costume he wore for that purpose in
The Four Horsemen. It will take
place in a sumptuous cabaret scene,
so be prepared to be' thrilled !

r I 'he hot summer months pass

in torpid working days for
Gloria Swans on, who no
sooner finishes one picture
than she plunges into an-
other. Gloria is now com-
pleting Wages of Virtue, un-
der the direction of Allan
Dwan, even while Her Love
Story, being an adaptation of
Mary Roberts Rinehart's Her
Majesty the Queen, is being pre
pared.

George Fawcett came on from the
Coast to support the dynamic Gloria and
he hikes right back after this picture.
Ian Keith, a newcomer to the screen,
plays opposite the
star. Mr. Keith made
his first appearance in
Manhandled and he
evidently made a fav-
orable impression, for
he was promoted to
hero-ing Gloria.

The "natural" holi-
ness of a New York
summer is increased
to blistering degrees
by the heat radiating
from the hard Kleig
lights banked along
the Swanson set.

Gloria doesn't seem
especially perturbed.
She is the life of the
70

Between scenes
in Monsieur
B eaitcaire,
Rudolph Valen-
tino shows the
sights of the
studio to Andre
Daven, the
young French-
man whom he
brought with
him from Paris
to play the role
of Beaucaire's
brother

It looks very much as if there is
trouble for two in the scene be-
low from The Spitfire, even tho
Betty Blythe is trying her best to
keep peace between Robert War-
wick and Lowell Sherman

party, joking with her director and
supporting cast. At the risk of being
anticlimatic, we add that Gloria con-
tinues her difficult job of outdoing her
previous "many change and lavish gown
record." The heat makes these
changes a bit irksome, for "sticky"
skin and heat waves do not tend
to increase joy in living. Gloria
applies a heavily loaded pow-
derpuff regularly, however,
and manages to give the
weather a run for its money !

"T\id you know that D. W.

■*"^ Griffith wanted to make

the screen version of Ben Hur,

but that those who owned the

production rights wanted such an

exorbitant price for it he couldn't

afford to buy? Years later, Goldwyn

bought it-

-at a much reduced sum.

Below, Thomas Meighan was

snapped on his way to review

the Boy Scouts of Brooklyn

t a luncheon given at the old Talmadge
Studio, the members of the cast of
Howard Estabrook's
new production, The
Price of a Party, en-
tertained a few of the
magazine and news-
paper writers.

One of the features
of the affair was an
Oriental dance given
by Hope Hampton,
who has the leading
feminine role in the
picture, containing
Mary Astor, Dagmar
Godowsky, Harrison
Ford, and Arthur
Carewe. Hope is an
accomplished dancer,
and if this abbrevi-

^M°^^J UR R

You remember
the child won-
der o v the
films, Miriam
Battista? Here
she isas "Juliet."'
having made
her stage debut
in New York
this year, with
Cbarles Eaton
playing "Ro-
raeo"

Pedro de Cor-
doba waves a
temporary good-
bye to the New
^ ork fans. He's
sailing for his
native town,
Cordoba, Spain,
to play the
hero of The
Bandolero

Maurice Costello (below) has an

important role in the new Selz-

nick picture, Love of Women

Gilliams Service

ated, graceful. Oriental affair doesn't
arouse interest, we miss our guess.

"These beads and sash," Hope sighed to
us, her hand lightly touching the intriguing
sash of rhinestones and pearls encircling her
slim waist and hanging in strings to her knees, "this
weighs thirty-five pounds."

Alary Astor flaps in The Price of a Party for the first
time in her cinematic career. She voices the cryptic
remark that she wouldn't be at all surprised were this her
only flapper part.

By the way, Mary's hair is not red, as so many people
seem to think. It is a soft, silky brown, with reddish
tints. She is a delightful personality, blessed with a
merry sense of humor and a mind that has a way of leap-
ing nimbly ahead of the other person's.

Upon completing her present picture, Mary entrains
for the Coast to play with Reginald Denny in the pic-
turization of Harry Leon Wilson's humorous story,
Oh, Doctor!

'T'ho Arthur Carewe has been kept pretty busy since

^ coming to New York some weeks ago. he told us that

in all likelihood he would appear in a Broadway stage

play before returning
to Hollywood.
He is now
busy read-
ing numerous
manuscripts
and confer-
ri ng f r e -

The engineer
of a monster
Santa Fe loco-
motive was
lucky to get a
fair helper to
assist him in
oil the big
engine out on
the Arizona
desert. The ca-
pable young
lady is that fa-
vorite of the
fans, Miss
Billie Dove
Gilliams

quently with his agent in his search for a
suitable vehicle in which to make his
Broadway debut. Incidentally, he will not
be a heavy.
I can play other parts than that of the heavy,"
he smiled : "and I was on the stage before I went into
pictures to be always a heavy."

"K/Trs. Axtoxio Moreno accompanied her husband to
A Xew York when the debonair "Tony" came on to
co-star with Agnes Ayres in Story U'itlwut an End, now
nearing completion at the Paramount Long Island Studio.
The Morenos decided against taking an apartment, inas-'
much as "Tony" is due to make only one picture and then
return to the Coast.

~D illie Dove has returned to her first love and is being
■*~^ featured in the new edition of the Ziegfeld Follies.
Miss Dove made her first and last appearance with the
Follies in the show of 1920. Prior to that, she appeared
in four editions of the Midnight Frolics, Ziegfeld's night
show, formerly given on the roof of the Xew Amsterdam
Theater. In her present stage appearance, Miss Dove
has a monolog, wherein she speaks of the movies. She
also does a dance and
wears some
gorgeous
gowns.

In private
life, as you
(Cont'd on
page 92)

Douglas Fair-
banks, Jr., dem-
onstrates to ad-
miring specta-
tors on the S.
S. Baltic that
he's as good an
athlete as his
famous father.
He's having a
holiday on the
Continent be-
fore returning
to Filmland
next fall

Keyston

Letters to the Editor

It's the Fault of the
Producer!

Dear Editor: It seems to
me that the most irritating thing
about the present pictures is
the fact that well-known com-
panies buy novels that have ex-
cellent possibilities in them and
then proceed to give them to
directors who usually miscast
them and make a mess of them
generally. As examples of this,
I cite Java Head, Black Oxen,
The Enemies of Women and
His Children's Children.

Mr. Melford murdered Java Head by following the plot of the
book without any understanding, dramatic power, or skill whatever.
Albert Roscoe gave an exceedingly wooden performance as the
hero, and also looked very unheroic and unhandsome. This was
surprising, because Mr. Roscoe used to be a good actor. Leatrice
Joy as the Chinese wife was a disappointment also. Her perform-
ance of Lydia Thorne in Manslaughter was wonderful, but her
Tauo Yoen didn't quite register. This may have been due to the
fact that it didn't suit her anyway, and Jetta Goudal would have
been immense in it. Remember her Pilar in The Bright Shazvl?
And the greatest improvement of all would have been to secure
Fred Niblo to direct the picture. The choice of George Melford
affords a good example of boneheadness.

Why was Frank Lloyd chosen to direct Black Oxen? Mr.
Lloyd's efforts are always heavy and uninspired. An even greater
blunder was made in selecting Corinne Griffith to play Madame
Zattiany. Miss Griffith walked thru the picture beautifully
and gracefully, but she certainly did not suggest the heroine of
Gertrude Atherton's bizarre and brilliant novel, which on the
screen was much less bizarre and not at all brilliant, with the
exception of Clara Bow's vivid performance of the flapper.

Pauline Frederick is one of the finest actresses we have — to
me the finest emotional actress on the screen, despite her many
cheap stories. And yet, after so many years spent on the screen,
there seems to be no producer with enough intelligence to star
her in stories suitable to her type. She would have made an ideal
rejuvenated Countess in Black Oxen, because she has the
maturity and sophistication. Myrtle Stedman would have
been effective in this role also, but never Corinne Griffith.
It seems pertinent here to remark that Miss Frederick
played Bella Donna, Zaza, and Donna Roma in The
Eternal City, long before Pola Negri, Gloria Swanson
or Barbara La Marr appeared on the screen.

When I approach The Enemies of Women and
contemplate the possibilities of this book, I could
break down and weep. Ibafiez spoiled it as a
book by making it too long, and abandoning the
characters at long intervals for bursts of philos-
ophy and description, but there is no denying
that it possessed an extremely interesting assort-
ment of characters, plenty of drama, and a color-
ful background of the Riviera, Monte Carlo and
Russia. And the Cosmopolitan Corporation had
a splendid opportunity
to come along with a
cinematic version of it
that would, perhaps,
have surpassed those
other two Ibafiez
stories, The Four
Horsemen of the Apoca-
lypse, and Blood and
Sand, both of which de-
serve places on any list
of the "best pictures."
It might have surpassed
them because it seems
to me that the theme
was more powerful
than either of the other
two. Cosmopolitan

should have secured
Cecil De Mille to direct
it, for who could have
done it better than the
man who invented "the
cinematically wealthy."

17 VERY reader of the Motion Picture Maga-
zine is invited to contribute to this page.
However, we can print only letters which give
the writer's name and address; the initials will
be used in publication if the writer prefers.
Of the letters accepted for publication, we will
pay five dollars for the one deemed the most
interesting and worthy of illustration, and
three dollars for the others.

Why do our producers buy novels that have excellent possibilities in

them, and then proceed to give them to directors who usually miscast

them, and make a mess of them?

He would have had full sway
for his genius for handling the
lives of excessively rich people.
However, if Mr. De Mille was
unprocurable, Allan Dwan
would have served very well in-
stead. Dr. Dwan knows how
to handle society drama also,
as was proved by A Society
Scandal. Cosmopolitan did
neither of these things; they
got Allan Crossland, who failed
to bring out the possibilities in
the story and fell down on all
the big scenes.

It was certainly fortunate
that Joseph Urban designed the settings and that the picture was
photographed in Europe, because the settings were so immense
that they atoned .for the lack of drama.

Concerning Lionel Barrymore as the Prince Lubimoff, I seem
to remember reading some reviews that spoke of his "superb"
acting. Whether they thought this necessary because he is the
brother of John, I dont know, but so far as real acting went, I
didn't see any — except some nasty frowns, which are apparently
Mr. Barrymore's idea of how to act a dissolute Russian prince.
And speaking of this reminds me : all of the wickedness in The
Enemies of Women was done by sub-titles ; the characters them-
selves were quite mild for the kind of people they were supposed
to be. Which was unconvincing, and people who went hoping to
be shocked were doubtless disappointed.

Alma Rubens was as good a Duchess De Lille as the director
gave her opportunity to be. And John Lynch should be awarded
a poison-ivy wreath for writing the scenario so that half of the
most interesting scenes in the book were left out, and some others
changed to suit his idea of good drama. If only June Mathis
or Frances Marion had written the scenario, and Rudolph Valen-
tino had played the Prince, what a triumph for Art it would
have been !

Now may I, inquire why Paramount bought His Children's
Children, and handed it to Sam Wood, when it was built especially
for Mr. De Mille? The great "C. B." could have made of it
a picture that would have made the rest of the stories about
wandering daughters look like a rubber
stamp. Mr. Wood's production was
quite as clumsy as the book, which it
need not have been, if handled with skill.
Dorothy Mackail was a poor choice
for a flapper, as she had no vivacity.
Why hasn't Paramount, whose motto
seems to be "Oh for a box-office attrac-
tion," ever thought of co-starring Pola
Negri and Rudolph Valentino, now
that their trouble with Rudie is settled.
If there is any bigger box-office attrac-
tion, what is it?

I suggest Pola Negri in a version
of Cleopatra, under the direction of
Lubitsch. I know Theda Bara played
her once. What of it?

And why doesn't
Paramount hire Ibafiez
to write an original
story for Rudie?
Here's hoping that the
Warner Brothers cast
Pauline Frederick as
the Countess Olenska in
The Age of Innocence ;
that William de Mille
makes a good picture of
Spring Cleaning, and
that Paramount give
Anna Q. Nilsson a big
contract.

Hoping that you will
publish my letter and
that it will do some
good, I am,

Yours very truly,
W. D. Seidler,
. 207 W. State St.,
Calumet City, 111.
(Cont. on page 91)

9 UC£

<[r.M0T10N PICTURE

Itlell I MAGAZINE K

F-

QHow 'Princess Tat Face c Powder won a
tennis Championshifx_j> .

T^he time was noon ~ the thermometer was
90 — the day sultry, stifling and sticky — *

SOMETHING more than the
game itself stirred interest
among the spectators. A girl on
the side lines whispered, "how does
she do it ?" A grizzled veteran among
a group of men murmured, "the girl's
not human."

Truly it was amazing. An hour's furious
play — yet the slim little beauty battling on
the south court maintained the exact ap-
pearance of cool daintiness and physical
serenity with which she had stepped into
play. A dazzling, super-heated sun had no
more than flushed her cheeks a faint, be-
coming pink. The column of her smooth
young throat showed creamy white above a
silken blouse, itself scarcely damp. Then
came a brilliant rally, a scurrying, flashing
action and the game was won.

Victorand vanquished stood together — and
never was a greater contrast. Theone fresh asa
springbreeze;theotherhot,disheveled,wilted.

' The grizzled old veteran asked the secret.
But the girl who kept cool blushed, laughed
and wouldn't tell. "I couldn't," she con-
fided later to her chum; "for do you know
what it was — a little secret I make use of
before a game, before a swim, before a
dance. I take a regular bath in Princess
Pat Face Powder! Then I look so cool that
I keep my peace of mind and poise under
all circumstances. Try it, my dear. It
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Name (Print) .

Street

City and State.

PAGll

The Answer Man

This department is for information of general interest only. Those
•who desire answers by mail, a list of film manufacturers, etc., must
enclose a stamped, addressed envelope. All letters should contain
the name and address of the writer, but a fictitious name will be
used in answering inquiries if it is written in the upper left-hand
corner of the letter

.... .

Gibraltar. — Glad to hear from you. Yes,
Frances Marion has been a scenario writer for
some time. You know Katherine MacDonald is
married and has retired from the screen. Glenn
Hunter is twenty-four. Your letter was a gem.

Manawatu. — Well, the secret of happiness is
never to let your energies stagnate. You know that
people's weights vary, but Norma Talmadge now
weighs one hundred and ten. She is mighty careful
of her diet. I dont blame her, do you?

Sparky.— Well, a good secret is to a woman what
good wine is to a man — too good to keep. Edith
Johnson was born in 1895. Shirley Mason is with
Fox. Edith Roberts is with the L. B. Mayer Pro-
ductions. Claire Adams in The Clean-Up. Lew
Cody has gone abroad to play in the next Marshall
Neilan production in which Blanche Sweet will un-
doubtedly star.

Elaine A. — No, I am quite sure Richard Dix is
not thinking of marriage. Gaston Glass has never
been- married. No, Nita Naldi has not bobbed her
hair.

Gisela R. M. — Nita Naldi is playing opposite
Rudolph Valentino in A Sainted Devil. Just
write to Eric von Stroheim at the Goldwyn Studios,
Culver City, California. Pola Negri at the Famous
Players Studios, 1520 Vine Street, Los Angeles,
/,'/ California. So you like Elliott Dexter.

blJ A Corinne Griffith Fan. — Yes, and a philoso-

pher is one who says simple things finely and fine
things simply. Corinne Griffith was born November
24, 1897. She played in Lilies of the Field and
Single Wives. No, Raymond Griffith and D. W.
Griffith are no relation to Corinne. Ramon Novarro
was born February 6. So, see, I didn't forget you.
Correction. — Ben Lyon of the First National
Pictures, Hollywood, California, writes to our
Editor and says that he is not married, as I said
he was last month, that he never has been married,
and that — that he wants it corrected. All right, Ben,
it is easier corrected on paper than in reality. Ben
Lyon is not married.

Monna Blue, Chicago. — Why, the Colgate Com-
pany, of Jersey City, are ordering the largest clock
in the world from the Seth Thomas Clock Company.
The dial will be fifty feet across and the minute
hand will be twenty-seven feet six inches and the
hour hand twenty feet long. Together they will
weigh a ton. It will be possible to tell the time
from the New York shore. Monte Blue was born
January J.1, 1890. He is part Indian, a way back.
He was interviewed in the August, 1922, Magazine.
Rosina. — Quid rides ? I'm not so funny. Well,
it never rains, but it gets wet. J. Warren Kerrigan
played in The Covered Wagon, The Man From
Brodney's, and in Captain Blood. Write to our
Circulation Department for back numbers.
A Wolverine. — Kissing is simply shaking hands with the lips.
Laurance Wheat was born in Wheeling, W. Va. He has brown
hair and hazel eyes. You can probably reach Ivor Novello at the
Prince of Wales Theater, London, England, where he is playing
in The Rat. Lionel Barrymore and Gaston Glass in / Am the
Man. You're very welcome. Run in again some time.

May, Montreal. — No, I dont carry life insurance. I find that
honesty is the best policy. All I can tell you about Vera Reynolds
is that she is playing in Cecil De Milles' Feet of Clay. Mar-
guerite Clark isn't playing in pictures any more. She's married,
you know.

E. M. K., Salem. — Well, the most unworthy hand I know is
behindhand. Olga, seventeen, is married and quite happy. She
has forgotten about the old Answer Man. Elsie Ferguson is not
playing in pictures right now. So you like our magazine because
it's clean. You know we wash every magazine in lux before it
leaves our shop.

<0>

E. G. — Well, a copyright is not a right to copy ;
it's a cash box for the other fellow's ideas. Address
Rod La Rocque at the Famous Players Studio.
Eugene O'Brien is playing opposite Norma Tal-
madge in her forthcoming picture, tentatively titled
The Fight.

Guanajuanto. — I should say it is hot. Some-
body said we weren't going to have any summer.
Here goes : Clara Bow is eighteen, brown hair and
eyes, five feet three and a half. Claire Windsor is
five feet six and a half and weighs 130. Pola Negri
is twenty-seven, five feet four and weighs 120.
Johnny Hines and Faire Binny in The Speed
Spook.

Barney Google. — Why, the Wall of China is a
wall 1,200 miles long and 20 feet high, built as. a .
protection against the Tartars. All by hand, you
know. Marguerite Clark is in New Orleans, you
know. Bebe Daniels recently bobbed her hair, and
she is twenty-three. She was born in Dallas, Texas.
Address her at the Famous Players Studio, Astoria,
Long Island. So you want Charlie Chaplin to re-
turn to comedies. He is working on one now. Yes.
I guess we all do. No, Marie Prevost is nol
married. No, I am not married, but I do like bow
ties. I dont have to wear a tie, you know:

Miss Red Head. — Oscar Wilde says, "As we
grow old, we grow more foolish and more wise."
No, you know I am very fond of buttermilk.
There's no joke about it. It's my favorite drink.
Marion Nixon is with Fox. Myrtle Stedman is
with Universal at present. That was Myrtle Sted-
man in Famous Mrs. Fair.

Hilda N. — The best way to reduce is to exercise,
whether you want to reduce weight, expenses, or
doctor's bills. I dont know about that contest,
better write Inspiration Pictures, 565 Fifth Avenue,
Los Angeles, California.

Yetta G. R. — All the way from England, too.
Rather nice. That was a pretty fine compliment
•you paid me. Thanks a lot. Pauline Frederick
was born August 12, 1888. She isn't married at
present, you know. I doubt whether Huntley
Gordon is married. Lon Chaney was born in Col-
orado Springs, Colorado. He is married to a non-
professional. You must write me again.

Brown Ize. — That's all right, there isn't much
difference between the best and the worst of us.
Horrors ! You say you didn't know I existed until
last week. Tell me how it happened. Mae Murray
was born in Portsmouth, Virginia, May 9, 1886.
Her real name is Marie Koenig and she was
married to William Schwenken and to J. O'Brien
and is now, to Robert Leonard. She has blonde
hair and blue eyes and she is playing in Circe.
You know she was the original Nell Brinkley girl
in. the Follies. Carmel Meyers was born in San
Francisco, April 9, 1901, and she is playing in

Flossie F. — Take my advice, never argue with
talks loudly, for you couldn't convince him. Thomas Meighan is
about forty. Yes, his hair is naturally wavy. I should term it
a boyish bob: He is married to Frances Ring. Write him at the
Famous Players Studio.

Mamie. — Your joke was a good one, but try this. Suppose
you had to get seven pints of water, and you had a three-pint
vessel and a five-pint vessel and you could not guess at the amount.
Tell me how you would do it. Address Mae Murray at the
Tiffany Productions, Goldwyn Studio, Culver City, California.

G. A. L. — Painted beauty is only skin deep. Mary Eaton is
with Universal and Allene Ray with Pathe.

Clare I. — Grass widows are called such because they usually
let no grass grow under their feet. Conway Tearle was born in
New York City, in 1880, and he had an extensive stage career
{Continued on page 76)

Ben Hur.
man who

([EMOTION PICTUR

11101 I MAGAZINE

IT is wonderful, indeed, this new way of teaching classic
dancing. Nothing like it has ever been done before. I have spent
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My instructions are thus placed before you in a form you can't forget. The great trouble
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I continue, as before, to create a dancing studio for you in your own home. I give my
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what I shall be glad to do for you.
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SERGEI MARINOFF

SCHOOL OF CLASSIC DANCING

1924 Sunnyside Ave., Studio 12-66, Chicago, 111.

Marinoff School of Classic Dancing §
1924 Sunnyside Ave., Studio 12-66
Chicago, 111.

Please send me full information about 5
your home study course in dancing, and i
about the wonderful new Motion Picture E
Method. I understand that there is no i
obligation. z

Name

Address..
City

.State.

75
PAG

AMOTION PICTURr

01 I MAGAZINE «-

S before entering pictures. He is married to Adele Rowland and
is five feet ten and a half, weighs 160 pounds. Dark hair and
brown eyes. He is playing with Colleen Moore in Temperament
and can be reached at the First National Studios, 5341 Melrose
Avenue, Los Angeles, California. Is that all?

Equator. — But nine-tenths of the world's pictures are made
within a few miles of the heart of Los Angeles. The Goldwyn
plant at Culver City occupys fifty-two acres, ten of which are cov-
ered with permanent buildings. Why, John Barrymore is forty-two.
Mary Astor is eighteen. That was Williard Louis in Beau
Brumviel. Write him at 1437 Valley View Road, Glendalc,
California. Constance Talmadge is twenty-four and Norma is
twenty-nine. I should say you were about sixteen.

Ricbar F. — Manj r a man has aimed at a chorus girl and hit
■ a star. Richard Barthelmess is going to do The Song and Dance
Man for pictures. Wouldn't you like to know my real self.
Well, I'm over eighty and have a few more years to go. Jackie
Coogan was born October '26, 1914. Baby Peggy was born
October 26, 1918.

Gwen. — Guess who was in to see us the other day — Florence
Turner, her real self. You know she is playing in Marion Davies'
Janice Meredith. She looks the same as she did fourteen years
ago. Leatrice Joy was born November 7, 1899. Nazimova has
been selected for the lead in the next Edwin Carewe picture,
Madonna of the Streets. Milton Sills is to play opposite.
Thanks a lot.

Soup and Nuts. — Sounds like a course dinner. Gloria Swanson
and Rod La Rocque are with Famous Players ; Alice Terry with
Metro ; Mary Philbin with Universal, and Corinne Griffith with
First National. I think they will write you.

Nora W. A. — Why, Lorelei was a malignant, but beautiful
water sprite of the Rhine. Yes, Maurice B. Flynn at 1269
Sweetzer Avenue, Los Angeles, California. He is being separated
right now. Gloria Swanson is twenty-seven.

The Swede. — And then too, mesmerism takes its name from
Mesmer, a German physician. No, that wasn't Eugene
O'Brien in Daddy-Longlegs, but Mahlon Hamilton. No, but
Irene and Lillian Rich are sisters. You do pretty well for a
working girl.

Babs Blair. — Well, all I can say about myself is that I live in
a hall room all by myself. My picture looks just like me and I
have never been married. Address Mrs. Wallace Reid at Bev-
erly Hills, California. Ben Alexander at First National, 5341
Melrose Avenue, Los Angeles, California.

Q. — Glenn Hunter is to play the lead in Mary Roberts Rine-
hart's The Altar on the Hill. Well, if I made a pun, a pun
my word, I did not mean to. Cullen Landis is five feet six and
he was born in Nashville, Tennessee. See you later.

Merlyn B. — Lewis Stone is free lancing, but you might address
him at the Louis B. MayeV Productions, 3800 Mission Road, Los
Angeles, California. The letter was forwarded. No, we dont
always love those whom we admire, unless it is ourselves. Write
me again.

Asabel B. — Guess you refer to the stage production, '
The Hotel Mouse.

Tag N. — Anna Nilsson at F. B. O. and she is
playing in Purchased Youth. Mary the
Third will be released as Dont Deceive
Your Children. Eleanor Boardman is the
star.

Mrs. Jack. — I dont know about that.
Curiosity is to blame for lots of improve-
ments in this world, and lots of sin, too.
I see, you are for Milton Sills and not for
Valentino. Tom Mix is playing in Fine
and Dandy, with Claire Adams and Earle
Fox. Rouget de Lisle composed the
Marseillaise.

Trow. — Semper paratus. No record of
Margaret Faulkone. Alice Terry really has
dark red hair. Write me often. Ernest
Torrence is playing in The Side-Shovj of
Life. I enjoyed your letter a lot — it was
a treat.

Margaret W. — Well, all's fair in love ;
unless it be a brunette. No, Ben Lyon isn't
married. He is five feet eleven. Rod La
Rocque is not married. Pola Negri's next
picture, made under the working title of
Compromised, will be released as
The Passionate Journey.

Melvin J. — That picture was re-
leased in July, 1921. Edith Roberts

in The Trifler, in January, 1920. Souls Adrift was released
September, 1917. Gaston Glass and Mary Thurman are playing
with Helene Chadwick in Trouping With Ellen.

D. M. S. — Never write what you dare not sign. Remember,
some words hurt worse than swords. Anita Stewart in Mary
Regan, released in May, 1919. She played in Invincible Fear,
released April, 1922.

Miss Quebec. — All right, Marie Antoinette was born in 1755,
and she was the Queen of Louis XVI of France. She was guil-
lotined in 1793, during the French Revolution. Your letter was
forwarded to Ramon Novarro, as requested.

Mike. — Well, Mike, you say you think I am of the fair sex.
Well, I am not, and I am bald enough to know better. Hope
Hampton is to play the leading part in The Price of a Party.
Betty Blythe will be the vamp in Potash and Pcrlmutter.

Mrs. D. H. — I should say I do feel the heat. Address Maurice
Flynn at 1269 Sweetzer Avenue, Los Angeles, California. Adolphe
Menjou is being featured in Open All Night. St. Cecilia is the
patroness of music — also a martyr. I should say !

Dotty Jane. — What a very nice bob you have. So you would
like to have a chat with me. All right. That is Jack Daugherty
and he is twenty-seven. You say he is your cousin, and of course
you know he is married to Barbara La Marr. Ramon Novarro
has gone abroad to replace George Walsh in the lead for Ben
Hur. Wonder if that thing will ever be released.

Marjorie B. — No, I dont bank my money. My advice to every
young couple is to start a bank account. I have just returned
from a visit to Welfare Island, where I saw unfortunate men and
women dependent upon the State. I shant forget that sight. One
old lady I saw was one hundred and five years old. Edward
Phillips is with Famous Players. Grace Darmond at 1337 Orange
Drive, Hollywood, California. Oh, yes, the Bank of England was
founded in 1694.

Marion. — So you have been reading this department for the
last eight years. I'm g<lad to hear that. Now, I ask you — you
want me to give you Nita Naldi's hip measures and her waist
measure? Well, I know she has a mighty beautiful figure — but
that's all I know. Agnes Ayres, Antonio Moreno, Dagmar
Godowsky, Tyrone Power and Maurice Costello are playing in
The Story Without a Name, which is being made at the Famous
Players-Lasky Studios on Long Island.

Paul J. — Thanks a lot. You say Romaine Fielding is living
at 6800 Delmar Avenue, St. Louis, Missouri, with his charming
wife Naomi. You know their romance started out of this de-
partment, and I have always been interested in them. Thanks,
indeed.

Laughing Lady. — Comfort is the only thing our civilization
can give us, but we have to earn that. Rod La Rocque is playing
in Feet of Clay. Monte Blue is thirty-four. See here, young
lady, I am over eighty years old. Now what are you going to
do about it? Jacques de Auray in The Humming Bird. Mae
Murray in Circe.

Louise F. F. — No, indeed, I am not in favor of long en-
gagements. They give people the opportunity of finding
out each other's character before marriage, which
I think is never advisable. No, neither Pola
Negri nor Gloria Swanson are married.
Virginia Anne. — Thanks very much for the
fee, and most of all, for the pretty cards made
with canceled postage stamps. Various
colored birds made by cutting up the stamps.
It sure was a unique idea and I have never
seen it done before. I dont think you will
have to pay duty, just the foreign postage.
Hope you like the cover.

Nozzv. — Marion Davies in Janice
Meredith, and she is twenty-six. Ramon
Novarro is twenty-three. Colleen Moore
and Conway Tearle have the leads in
Temperament, which was made under the
working title of Counterfeit. You know
that Oscar Wilde says that "Ideals are
dangerous things. Realities are better. They
wound, but they are better."

Edith H. — Yes, Katherine MacDonald is
no longer on the screen. She had her own
company and released thru the First Na-
tional at 383 Madison Avenue, New York
City. No, I have never been to Paris, but
the Champs Elysees is a promenade in
Paris, and the Champs de Mars a field in
Paris, for Military manceuvers.

(Continued on page 111)

*V%

CTT.M0T10N PICTURI

Inell I MAGAZINE

The hair is held in "waves"
by the cross pieces and al-
lowed to dry in this posi-
tion. Meanwhile you can
read or finish dressing.

After moistening hair with
Spanish Curling Liquid,
furnished free with every
Curling Cap, place cap over
the head and pull the hair
forward through the rub-
berized cross pieces with the
fingers.

Marvelous New Curl-
ing Cap Marcelle
Waves any Hair

Startling new invention makes marcel-
ling quick and easy

After 15 minutes the hair is
dry, the cap is removed and
your mirror reflects as beau-
tiful a Marcelle as you ever
had in your life.

HERE'S the greatest beauty
news you've had in many a
day! It makes no difference
whether you wear your hair bobbed or
long — whether it's thick and fluffy
or thin and scraggly — for this great
beauty invention insures a mass of
lovely ringlets, waves and curls all the
time at practically no expense to you
and with only a few minutes' time
every few days.

Like all great inventions, Mc-
Gowan's Curling Cap is very simple.
There is no complicated apparatus.
Nothing to catch in your hair or get
out of order. It is a simple device
that applies the principles of the
curling iron, using a specially pre-
pared, safe and harmless curling fluid
— Spanish Curling Liquid — in the
place of water and heat.

You can see at a glance how the
Curling Cap works. Elastic head
bands hold the six rubberized cross
pieces in place. The hair is held in
"waves" by the cross pieces until it
dries, when the Curling Cap is re-
moved, and you have a beautiful
Marcelle that would cost a dollar or
more at a Beauty Shop and take
about an hour's time.

A timely aid to beauty

There never was a more timely in-
vention than this, when nearly all

girls and young women are wearing so he decided to put the price within reach of

bobbed hair — and wondering how ? 1L By selling in tremendous quantities it will

^i mi i ■., l j ^.u ~u ..l be possible tor him to make a price of 32. 87 for

they will keep it curled through the the p entire outfit> which incIl £ s a la f ge sized

summer. 1 ennis, golf, boating, swim- bottle of Spanish Curling Liquid as well as the

ming and Other summer sports al- newly invented Curling Cap. As this same

ways have played havoc with Mar- ho ^ c °f s P anish Curling Liquid has always

r^llpc cnH malfp it nparlv imnnQcihlp sold tor 31.87, you can see that you are really

celles and make it nearly impossible getting the Curling Cap for the ridiculous price

for the average outdoor girl to keep of one dollar, which is just about what it costs

her bob looking as smart as it should. to make.

But now she can laugh at her former g end nQ money _j ust mai l

worries, tor with McCjowan s Lurling j A

Cap and a bottle of Spanish Curling tne COUpOfl

Liquid she can have a fresh Marcelle You don't even have to pay for this wonder-

every day in less time than it took to ful curhng , outfit ' n "dvance Just sign the

r i J i • i • i coupon and in a tew days the postman will

comb her hair when it was long. deliver the Curling Cap and Spanish Curling

y, | * .» ,/ .j . Liquid to you. Simply pay him 32.87, plus

CUrly hair S the thing nOW postage— and then your Marcelle worries will

No matter what style of bob you favor, or }>e at an ? nd - If y° u d 00 '* <?? d { \ the greatest

even if vou wear your hair long, you've got to beaut y ald y° u eve F r use ?— lf >t doesn t bring

keep it curly and wavy if you want to be in y° u the most beautiful of Marcelles just as we

style. There never was a style more universally promised— if you are not satisfied with Mc-

becoming and there never was one more rigidly ^. owan . s Curling Cap and Spanish Curling

demanded by the arbiters of fashion. Llc l uld ln every way, just return the outfit and

It makes no difference, either, whether you y° ur mone y wlU be refunded,
prefer the waves running across your hair or

from front to back. The Curling Cap is ad- |-= — — — f— -COUPON— - — -——a

justable either wav. When not in use the Cap * „„„ ,.- ,-,-.,,,. XT T .„ no , Tnptl ,c .

■* iriii i • i * i ii 1 THE McGOWAN LABORATORIES

may be folded and carried in your handbag. I 7io w. Jackson Blvd., Dept. 547. Chicago

I Dear Mr. McGowan : Please send me your hair curl- '

T?/>/1/1 till? n 111 n <y i 11 tf nft ov I in S outfit, which includes your newly invented Curl- |

JCYVUCl trllA UniUZWg UJJtr I in g Cap and a bottle of Spanish Curling Liquid. I ■

I agree to deposit $2.87 (plus postage) with the post- |
man upon its delivery. If I am not satisfied with I

,.,• r i_ ■ i_ • l I results in every way I w 11 return the outfit to you I

Curling devices none Ot Which IS to be Com- I and you are to refund my money.

pared with the Curling Cap — you would expect

this one to cost at least 310 or 315. In fact, [Name |

when Mr. McGowan first showed his invention 1

to his friends many of them advised him to sell ■ Address . .

it for that price because it is easily Worth it. . Note: If you expect to be out when the postman |

But Mr. McGowan wants every girl and ! ??" s .'. enc A os %? 3 ?}*£ your old f er ?J d the McGowan !

11 r n ■ • b ■ I <-urlmg Outfit will be sent postpaid.

woman to get the benefit ot his great invention, |_ mm i™ ™ — — •— — . — ■ >— * f\

77 Y
PAfiU

On the Camera Coast

{Continued from page 67)

of Charlie's temporary
absence, the detectives
made a sensational raid
of the premises. Sure
enough, they found a still.
Also they found out that
the still is there because
Charlie just cant stand
hard water ; all that
touches him inside or out
has to be distilled.
Exeunt the prohibition
sleuths with abject apolo-
gies.

Qne of the big high
schools in Los
Angeles took a poll of
six hundred pupils not
long ago as to the
favorite actor and ac-
tress. Thomas Meighan
led the men and Barbara
La Marr the women.

Tommy is now on his
way to the north coast
to make a picture of
James Oliver Curwood's
The Alaskan. It is a
big undertaking and in-
volves "locations" all
along the Alaskan coast.
Estelle Taylor plays the
feminine lead. She
wrote a forlorn letter
home the other day. She
said she wished she
could see just one California geranium.
So her loving friends picked out one lean,
withered geranium, which looked as tho it
had seen better days, and sent it to her.

"D riscilla Dean remarks ruefully that
she no longer fears getting fat. In the
picture she is now making, The Siren of
Seville, she has to fall out of a tree; do
a native Spanish dance ; drive a team of
runaway horses thru the twisting, narrow
streets of a motion picture set; climb the
side of a building ; engage in a knife fight ;
have a hair-pulling contest with Claire de
Lorez, and finally wrestle with a trio of
fire-eating bulls.

Miss de Lorez is the beautiful vamp
young lady who appeared in Three Weeks
and Enemies of Women. She has an-
nounced that she is soon to be married to
a wealthy Detroit business man — Dr.
Montrose Bernstein. They are to live in
Hollywood.

fnarkable careers in the
history of Hollywood.
Getting into pictures
thru an accidental f riend-
ship, Lyon came to
Hollywood eight months
ago, absolutely unknown.
He is now regarded as
one of the big cards of
the screen. Buchowetzki,
the Russian director, pre-
dicts that Lyon will be
the most famous actor
on the screen.

PTarold Lloyd confided
in me the other day
that, now Mildred Gloria
Lloyd has arrived, he
cant imagine how he ever
came into the error of
wishing for one minute
that she would be a boy.
As soon as Mrs. Lloyd is
well enough, and Mildred
Gloria is old enough, the
little mother's screen
career is to be resumed.
Harold is thinking of
starring her in Alice in
Wonderland.

Just to prove that they are both good "troupers," and can "double
in brass" with the best of them, Viola Dana hied off to a corner
of the Metro lot with Doug Fairbanks, .Jr., to pose for this photo

where in the Times Square district. It is
to be a co-operative affair with the players
owning stock. Katherine Cornell and
Philip Merrivale are the only players thus
far named in addition to Miss Taylor.

T f Cleve Morrison goes to the Olympic
games in Paris as a member of the
American swimming team, his little sister,
Colleen Moore, vows she is going to drop
all her picture engagements and rush over
to root for him.

V\7hen Ben Lyon left for New York the

other day to fill a picture engagement,

it was a milestone in one of the most re-

THLf alter Hiers is about
to begin working on
a series of six two-reel
comedies for the Educa-
tional Film Co. Walter
looks fatter and gayer than ever.

orothy Devore is making an odd
bequest to charity. Having left comedies
for drama, she is going to sell all her
boys' clothes and give the proceeds to
the Salvation Army.

Jackie Coogan feels very important : he
is a godfather. A letter from Oakla-
homa City announces that the young son
of a family named Wilhoit has been
named Jackie Coogan Wilhoit. Jackie will
give the usual advice and admonitions upon
the proper conduct of life for his god-
child. Also the usual silver cup.

With the last scene of his picture, Little
Robinson Crusoe, shot, the old Metro
Studio is to be dismantled and the ground
subdivided into residence lots. It has been
in operation for seven years.

T :aurette Taylor is going to start a new
. theater in New York. With her hus-
band, Hartley Manners, and Edgar Selwyn,
she expects to build a new house some-

78
ae.

Richard Burke

Do you know that Lew Cody is a French-
man, and his name really is Louis Coti?

Cam Wood, the Lasky director, has cut
loose from all contracts and will free-
lance from now on. He says this is the
only way he can avoid directing stories
that do not appeal to him. His first free-
lance picture will be Harold Bell Wright's
latest novel, The Mine with the Iron
Door, which is to be made in the country
back of Tucson, Arizona. Mr. Wood
made his entrance into pictures by about
the most curious route I ever heard of.
He was an investment broker in Los
Angeles and put some money into a series
of comedies. The director made such a
mess of the job that Wood went out to
the studio and learned to be an actor and
director to protect his investment.

T"\og pictures have been so successful that
Peter the Great, one of the most fa-
mous of all police dogs, has been brought
over from Germany by Harry Rapf. He
will be used for the first time in a police
mystery story called The Silent Accuser,
in which Eleanor Boardman will play the
lead. When Jane Murfin first announced
that she was going to make a picture
which had to do with the love affair of
two dogs, Hollywood nearly passed out
with laughter. Since then dog pictures
have been among the biggest money
winners of all pictures.

In this connection, the office of Will H.
Hays, co-operating with S. P. C. A., has
made a thoro investigation of the charges
that screen animals were the victims of
the most horrible cruelty. A society
headed by an excited Los Angeles lady
issued a pamphlet in which were shown
the implements alleged to be used in
training animals for the screen. Included
were chains adorned with sharp spikes,
and a lot of paraphernalia apparently
taken from a Spanish Inquisition Museum.
The Hays organization has announced that
(Continued on page 108)

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'he)! ! MAGAZINE

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Name ..„„.

R. F. D.. Box No.

or Street and No .„„_..»-

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Tke Girl Who Couldn't Be Bad

and boarded. It was such a lark ! On the
way, Hope told the sweet old lady every-
thing, including the fact that she was the
dead image of her darling grandmother
who had been the best friend she had ever
had in the world.

"I was a grandmother — once," rumi-
nated the old lady, her expression and tone
changing into sad bitterness.

"Once?" inquired Hope, uncomprehend-
ingly.

"Yes, once — she's somewhere now — God
help her ! Say, you mustn't come with
me!" cried the old woman, suddenly and
almost fiercely turning on Hope.

"Oh, please — you must let me," pleaded
Hope, thinking she had offended her bene-
factor.

"All right," sighed the old woman,
"there's the house just at the head of the
street. Come along."

There were a half dozen women in the
midst of having a late supper. Hope
created a diverting sensation. They
howled with laughter.

"Been out to Hollywood, Granny?
Was she left out of a rube scene and
couldn't find her way home?"

"Shame on you, robbin' the Old
Homestead !"

Then they gave it up, the toughest
among them remarking, "I give it up;
there ain't no such animal !"

They tried to make fun of her in
their hard way, but
failed utterly because of
her crass ignorance and
pure innocence combined.
She only smiled awk-
wardly until they could
not help being enter-
tained by her, and she in
turn thoroly enjoyed
their society. She was a
perfect scream and she
stayed up with them
until she fell asleep in
her chair, imparting
something of her sweet
innocence of untroubled
sleep that tortured more
than one heart as each
slunk away into the
night of the streets.

Hope had no remem-
brance of when she had
gone to bed. The next
day passed in a whirl
and evening found her
at the end of her rope.
She thought it would be
easy to find her lover.
On more than one occa-
sion she was approached
by strangers into whose
faces she looked with an
innocent smile that made
them back hastily away
as their purposes faded
from their eyes with an
"Oh, excuse me, I've
made a mistake! I

thought you were "

And they hurried away.
Hope moved on, keenly
disappointed at this un-
explained change in what
promised to become both
sociable and helpful.
She met all who ridi-
culed her tight-fitting,
backwoods rig with that
sweet, innocent, forgiv-
ing smile that filled them
with a sense of half-
guilt ■ and shame for
(T\ themselves, not for her.

pgo

Iage

(Continued from
page 39)

She went to the old square

piano and in the dim light of

the gloomy parlor began to

"pick out" the treble

Synopsis of Parts I and II

5EVENTEEN, pretty, and — discontented. Hope Brown hated her
home in Pocustoivn, California; her severe, unsympathetic par-
ents and the daily drudgery of housework. She zvas allowed no
movies, no dances, nothing but prayers and piety. Just as Hope
thought she must do something zvicked, her parents went, in the
course of their missionary work, to a Convention of Righteous
Causes at San Francisco. Aunt Charity, left at home to guard Hope
and her brother Hank, soon gave up the battle and resorted to her
bottle of Parana "tonic," to comfort herself. This zvas Hope's
chance. Introduced by Hank to the bootlegger, Miles Orkney, she
boldly defied her aunt and went to the movies with him. Now Miles
zvas not a man to be trusted with any young girl, and besides, he had
a zvife in the city. But, he zvas good-looking and had nice manners
and, being a stranger in tozvn, represented Romance and Adventure
to Hope. The visit to the movies made her feel zvicked, while it gave
her courage, also, to invite Orkney to the house the follozving evening.
Meantime Hank zvas being independent also. His rebellion took the
form of consorting secretly zvith the disreputable element of Pocus-
tozvn, playing cards and drinking their zvhisky. These men planned
to demoralize Hank in revenge for his father's uncompromising
attitude on the liquor smuggling in which they were engaged. Aunt
Charity zvas overcome by Hope's unprecedented disobedience, but she
zvas helpless. She did, hozvever, write Mr. Brown a full account of
the visit to the movies. But Hope had broken loose and zvas not to
be intimidated. Miles Orkney came to call that night in spite of the
aunt's protest. Hope led him to the parlor and locked the door so
that her aunt could not come in unexpectedly. And Miles? Sophis-
ticated, citified Miles thought himself in luck. Hope zvas pretty, she
zvas innocent, and she zvas fascinated by his middle-aged good looks
and careful grooming. What more could an unscrupluous man want?

She found her way with difficulty
back to the "boarding-house" that
evening, tired and worn out.

Hope found one very wretched and
depraved specimen of womanhood —
whom they derisively called Susie —
sitting dejectedly on the stairs and
weeping. Forgetting all her own
troubles at the sight of this pitiful
object of misery, Hope went over to
Susie and put her arms about her
neck, asking her if there was not
something she could do to help her !
Susie threw her off and, thinking it
was one of her mocking companions,
was about to hurl some harsh invective,
when she was convinced of the truth
in Hope's gentle eyes and cried out
distressfully, "Oh, you mustn't do
that ! Get away from
me, please. I'm not your
kind ; I'm a bad woman !"
Hope was surprised at
this rebuff, then she took
some relief in the fact
Susie had disclosed. She
turned to Susie plead-
ingly.

"Oh, please tell me
how to be really bad.
That's what I came to
the city for. People
wont have anything to
do with me and make
fun of me because I'm
so good. I dont want to
be good; I want to be
bad !"

Susie, the woman of
the streets, was obvious-
ly struck in a vulnerable
spot for the first time in
years. She seized Hope
and held her tight to her
as tho protecting her.
Then she began to sob:
"Oh, kid, you've come
straight from God
A'mighty! Tonight I'm
goin' to make an honest
dollar somehow and to-
morrow I'll pay you back
by keepin' you from the
streets, so help me!"
She kissed Hope's face
and hair as tho she had
been an angel and then
hurried out of the open
door.

Hope went into the
dining-room shaking her
head uncomprehendingly.
Several highly decorated
ladies were nibbling
crackers and noisily
drinking their soup. The
coarse landlady entered.
"Got that board money
yet?" she harshly de-
manded of Hope.

Hope shook her head,
frightened.
"I haven't a cent left t"
The landlady set down
the tray she was carry-
ing and put her red
hands on her hips. "Then
get out on the streets and
earn some money the
way all the rest of 'em
here do ! You're no
better than they are !"

Thus put out of the
only place in the city
she knew, Hope stepped
into the streets.

(To be continued)

He knew be was lucky to have her for this last dance of the evening — she looked as sweet and fresh as when
she arrived. She was one of those women who know how to retain their subtle charm of complexion

Do you use the wron
shade of powder?

By Mme. Jeannette

YOU wouldn't think of wearing two
different shades of stockings at one
time — yet how often we see women with
one shade of skin wearing an entirely
different shade of face powder!

This is one of the very important con-
siderations in using powder effectively
—it must match the tone of your skin.
Pompeian Beauty Powder is found in four
shades, one for each of the typical skins.

The following general description will
be aguide in deciding your shade of skin :

The Medium skin is found with almost
any shade of eyes or hair, but the actual
tone of the skin makes the type!
I These skins need the Naturelle shade
of Pompeian Beauty Powder. So many
American women should use this par-
ticular shade, and it is so perfected in the
Pompeian Beauty Powder that I would
almost persuade any woman who hasn't
a striking blonde or a brunette skin to try
this powder in this shade !

The White skin appears in very blonde
types, and occasionally in the very black-
haired Irish type, but most frequently
with red hair. If you are sure your skin
is chalk-white, you may use White powder
that is found in the Pompeian Beauty
Powder.

The Pink skin is a skin that can be
turned into a definite asset of beauty if it
is properly treated. Women with pink
or flushed-looking skins often make the
mistakeofusingawhite or a dark powder.
This only accents the pinkness — but
they should always use the pink tone of
powder — the Flesh shade of Pompeian
Beauty Powder.

The Olive skin is rich in color tones,
though the average person may believe
the contrary ;forfewolive-skinned women
have much red or pink in their cheeks.
The shade of powder for this rich skin is
Rachel Pompeian Beauty Powder. This
powder shade on an olive skin accentuates
the color of the eyes, the red of the lips,
and the whiteness of the teeth.

All shades, at toilet goods counters,
60c per box (Canada, 65c). Theverythin-
model compact, $1.00 (Canada, $1.10).

After reading my descriptions of skin-
tones, and the shades of powder they
require, you probably will be able to go
directly to your favorite shop and buy the
shade of Pompeian Beauty Powder your
skin needs, if you are in doubt between
two shades, check them on the coupon
below and I will send you, without
charge, a sample of each.

POMPEIAN LABORATORIES, CLEVELAND, OHIO
Also Made in Canada

:KS3a3rSS5£^SEQaS?£SS^as2g

OT.M0TI0N PICTURR

Me)| I MAGAZINE \\

The new

POMPEIAN

POWDER COMPACT

— a thin model —

Every woman who uses Pompeian
Beauty Powder and is a devotee of
its superior qualities will welcome
the fact that the new Pompeian
Beauty Powder
Compact is
now available.
It is the same
powder, with
the same fine
adhesive qual-
ity, and it may

be had in the four shades
— Naturelle, Rachel, Flesh, and
White.

It comes in a gilt lacquered case
with a tracery of violet-covered
enamel in delicate design on the
top.

This is an exceptionally thin
model — the correct compact for
the smart bags — and it fits easily in
the pocket of suit or wrap. It is
sufficiently large in circumference
to permit of good expanse of
powder— and has a generous mirror
in the top. The compact itself is
covered with a satin-backed puff.

Examine this new compact at the
same store where you buy your
Pompeian Beauty Powder — you
will find it as de luxe as a model
from an exclusive jeweler's. Be
sure to get your correct shade of
powder according to directions
given on this page. Pompeian
Beauty Powder Compact, $1.00.

JfUux.JtOuu^ett

Specialiste en Beauti

MADAME JEANNETTE,
Pompeian Laboratories,
Dept.613, Cleveland, Ohio

Dear Madame: Not being entirely certain
which shade of Pompeian Beauty Powder is
best suited to my skin tone, I wish to test the
two shades checked below.

Name .

Address ;

City.

_State_

Please check the two shades desired for test
□ Naturelle □ Rachel □ Flesh □ White

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The Story of M$ Life

Monte Blue as he looked when he
played "heavies" with Douglas Fairbanks

'82

{Continued from page 33)

always was plenty of work to be had down surprise for me
here for the asking.

I landed in Los Angeles almost penni-
less and started looking for a job, but I
dont believe there is a town in the United
States where it's
harder for the out-
sider to get work.
There are thou-
sands of people
drifting thru Cali-
fornia all the time,
and employers are
prejudiced against
them, feeling that
they're not apt to
have the same
sense of responsi-
bility as native
Californians. In a
little while I was
without money, and
the soles of my
shoes were worn
thru. _ Still, I
couldn't get a job
anywhere.

Someone asked
me one day why I
didn't go out to
the motion picture
studios in Holly-
wood and apply
for extra work. I
had never thought
of that, but when
I heard that the

extras got five dollars a day I didn't waste
any time getting out to Hollywood.

Five weeks went by, tho, before I ever
got inside a studio. You see, the casting
directors and their assistants get to know
a good many of the extra people person-
ally, and when they're selecting from a
crowd, naturally they take the ones they
know are experienced. I was a stranger
and was always passed by.

One day over at the Fine Arts Studio,
tho, a man came over to a bunch of us who
were waiting around and said, "Say, fel-
lows, I've got work for some of you."
We all made a dash for him. "It isn't
acting, tho," he told us. "It's good hard
work digging holes for telephone poles,
here on the lot. The job pays a dollar
and a half a day."

_ The other fellows all stepped out of
line again, leaving me standing there alone.
"Say," I said to him, "if you've got a
heart in you, you'll give me the job. I
need it."

So I went to work at the Fine Arts
Studio — as a day laborer. I was glad to
get the job, but even at that it wasn't long
before I was addressing the men at noon
on the Rights of Labor, as I had done in
the lumber camps.

One noon I was ascending to the heights
of oratory, when I noticed a change of
expression come over the faces of the
men gathered around to listen to me.
They were looking at someone who had
come up behind me. I turned around to
see who it was, and there stood the boss,
D. W. Griffith. Well, I thought my job
was gone, all right, but all he said was,
"Keep it up, young fellow. I like to
listen to you." I didn't talk any more that
day, tho. Somehow, my enthusiasm for
oratory was gone.

A few days later one of his assistants
said that Mr. Griffith wanted to see me. I
was certain this was my finish, and per-
haps you think I didn't regret those soap-
box speeches. But Mr. Griffith had a

He asked me if I could
act. I said no.

"Well," he said, "I think you can. I
want a man to harangue the mob in this
picture, and I think you can do it."

They got me a
soap - box, started
the cameras going
and told me to go
to it. But it was
one thing to be an
orator on the lot,
and another on the
stages under the
lights. I was
camera - conscious
and the words
seemed to freeze
in my mouth.
Presently Griffith
came over to me.

"I'm giving you
a chance — a big
chance," he said.
"I wonder if you
have sense enough
to take advantage
of it? Just forget
the camera."

I started again,
and things went
better this time.
In fact, Mr. Grif-
fith was pleased
and wrote a part
into the picture for
me. It was called
The Absentee, and Bob Edeson was the
star. When it was finished, I was given
a guarantee of ten dollars a week with the
company, the understanding being that I
was to continue as a day laborer on the
lot, but was to have an additional five-
dollar check whenever I did a day's extra
work.

The studio expanded soon after that.
Mr. Griffith joined Ince and Sennett, form-
ing the Triangle Film Corporation. At
times there were as many as twelve and
fourteen directors working on the lot, and
I worked with one company after another.
I knew now that I had found my life
work.

But things weren't to go smoothly with
me. It was discovered that I could do
stunts, particularly on horseback, and
almost before I realized it I became labeled
as a "stunt man." Nothing more un-
fortunate could have happened to me at
the time, for I was kept busy doing stunts
and doubling for the more prominent
players. It was a treadmill existence for
me, made doubly hard coming, as it did,
just when my ambition to become an actor
was thoroly awakened.

I made one good friend, tho, during
these discouraging days. This was Doug-
las Fairbanks, who had come West to go
into motion pictures. He thought I'd make
a good heavy, and cast me in his first pic-
ture, The Lamb. He also gave me heavy
roles in his other Triangle pictures.

I believe it was sometime during 1915
that Griffith started his great feature film,
Intolerance. He didn't like to use tall men
in his pictures at that time, and so I hadn't
done much work with him, but he offered
me the position of field secretary on that
picture, and I took it. This kept me off
the screen for a year, and when the picture
was finished, Triangle dissolved and he
went East. The entire company disbanded.
I had no intention of leaving Hollywood,
tho. My days of roving were over. After
{Continued on page 94)

nll -,OT10N PICTUR

X>\ I MAGAZINE

What I Can Read in the Faces
of the Film Stars

CONSTANCE TALMADGE

(Continued from page 42)

regardless of consequences. A love of the
luxuries and nice surroundings : a per-
son who must be with people. Not a very
practical person.

Making a general summary of the char-
acter, .1 would say that Miss Constance is
a very agreeable person, highly emotional,
active and restless ; very sociable, and one
who loves the good things of life. A gay,
magnetic personality.

CONWAY TEARLE

(Continued from page 42)

which is highly individual, refined and
well-bred.

Mr. Tearle has characteristics that
would make a good lawyer, for he is com-
bative and not easily swayed, and always
puts forth a good argument. He has
good judgment and keen discernment and
high analysis, and is a logical thinker. He
has a restless nature, and is highly ambi-
tious, intense, and entirely too serious for
his own good. A nature which is inclined
to worry, and at times be irritable. A man
who attends strictly to his own affairs, and
likes others to do likewise.

NORMA TALMADGE

(Continued from page 43)

brows is shown a nature which thinks.
The fulness over the eyes shows sus-
ceptibility to color.

Making a general summary, I would
say that Miss Talmadge is a person of
deep feelings, a thinker with good judg-
ment and business ability, a strong will,
pride and determination. A person of
moods, dreams and visions. One who has
the capacity for deep suffering and great
joy. An emotional, high-strung, indepen-
dent nature, highly intuitive, with an
interest in mysticism, things psychic and
unusual. A charming woman with kindly
traits.

COLLEEN MOORE

(Continued from page 43)

nature, good mentality, is industrious, per-
sistent, determined, has good judgment,
and an all-absorbing interest in her work.
She is self-confident and, above all, has
the courage of her convictions. There are
initiative, thoroness, patience, carefulness,
ability to master details, and dramatic
sense. She has vivid mental pictures of
the things she desires to do, and usually
accomplishes that which she attempts.

^^7jBXT month J^Ime. de Revere
win read for you the char-
acteristics that she finds in the
faces of Rudolph Valentino,
Corinne Griffith, Reginald
Denny and Nita J^Zaldi-

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"sMOTiON PICTURP
m I MAGAZINE l

I'm making real

money now

"flEE that coupon? Remember the day
^^ you urged me to send it to Scran-
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Box 6558-B, Scranton, Penna.
Without cost or obligation on my part, please tell me
how I can qualify for the position or in the subject before
which I have marked an X:

BUSINESS TRAINING COURSES

D Salesmanship

□ Advertising

O Better Letters
3 Show Card Lettering
3 Stenography and Typing
3 Business English

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Spanish □ French Q Illustrating

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3 Electric Lighting
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Architects' Blue Prints
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Persona residing in Canada should send this coupon to the

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MIFFLIN
4LK0H0L

Behind the Screen with Two Greenhorns

(Continued from page 47)

Watching her, from a point of vantage
underneath the camera, was Allan Dwan,
the director.

"It's not right yet !" he bawled thru
his megaphone. "It doesn't lie straight,
and thru the camera the wrinkles look
like mountains."

"Is that Gloria herself ?" I asked, with
the proper awe in my voice, willing to
confess that perhaps, after all, they do
work hard in the movies.

"Oh, no," said our guide. "That's the
girl who doubles for Gloria. Gloria got
Kleig eyes last year, and we have to save
her wherever we can."

Now, doubling for a star in the movies
seems to be an even more thankless task
than understudying one on the stage. For
while the understudy may, in some emer-
gency, sometime, get a chance to appear
before the public, the double never can.
She (or he) simply does the tiresome
preliminary effects before the camera, and
then fades out of the picture for the star
to step in, just at the psychological moment
when the director yells "Camera !"

Her only opportunity comes in some
scene of such daring and danger that the
management feels the expensive star
should not be risked. Then the double goes
thru the fire or the water or whatever
the hair-raising escapade may be, but with
face so indistinct that everyone will think
it is the real star. So even if she sur-
vives, she gets no credit from the public.

So, after this double had survived her
endurance test of posing for the draping
of the train, Gloria appeared, to lift it
upon her own dainty shoulders— Gloria,
beautiful in spite of her green skin and
purple lips, clad in a ravishing wedding-
gown of real lace, with a veil which the
Princess Mary would have been proud to
wear. An ancient gray-haired maid-ser-
vant followed her into the very eye of the
camera, pinning and patting imaginary de-
fects. Then came the call for the priest
and the groom, the bell for silence, and the
call of the director of "Ready, Camera !"

Uamera

• Mow in any
movie
scene which
offered the
dramatic pos-
sibilities of the
heroine and
the villain
standing be-
fore the mar-
riage altar
with the priest
at hand, one
certainly
would expect
some action —
especially on
the part of
the hero.

But not to-
day. The hero,
a beautiful
matinee idol
in pearl-gray
tweeds, with a

silver-banded cane carried nonchalantly
over one arm, was in the rear of the room,
chatting gaily with another lady. And
when the director called "Camera!" the
priest simply raised a gold cross, made
the sign of the cross first before Gloria,
then before the groom, and joined their
hands to signify the knot was tied. Then
they rested, all being over but the final
clinch, which apparently doesn't happen in
the Balkan states.

I was much disappointed.

"Rotten !" shouted the director. "Do it
over again!"

They did, slowly and accurately.

"Do it over again!" he repeated.

They did.

"Now once more!"

Perhaps the director works as well as
the double. The nice young man assured
me he did. "The director's the whole
cheese," he said. "Every tiny scene has
to be made at least three times, for if there
is the tiniest flaw we must throw it out."

"Mob !" shouted the director, and the
lords and ladies lined up to take their
places in two long rows on either side of
the altar. And they went thru it again
— three solid times, then they moved the
camera on its scaffolding from the center
of the room to the back.

"This first was only the close-up," said
our guide. "Now they have to do the
whole thing over again for the full-length
picture."

"Heavens!" I ejaculated, my longings to
be in the movies waning a trifle. In the
two hours during which we had been
watching them, scarcely enough finished
film had been made to pass before the
eyes in five minutes.

Fancy an eight-reel picture!

They Really Do

f~\ h, yes ! I almost forgot to tell. They
have music with their acting. They
really do. Of course, I'd read about it,
(Continued on page 110)

We both felt
sure that
Gloria was
marrying the
wrong man,
and we waited
hopefully for
the Handsome
Hero to dash
in at just the
right moment,
and save her
from an un-

happy life

Critical Paragraphs About
KJew Productions

(Continued from page 57)

similarity to Rain, Broadway's biggest hit
of the past two years, tho its missionary
is blessed with more humanity and its
heroine is not a product of the underworld.
It also bears a resemblance to other pic-
tures of the South Seas in its action and
incident — such as projecting the heroine
as the sole white woman of the locality,
and making the missionary a victim of
suppressed desires.

She becomes involved in the simplest of
triangle situations — in running away from
her husband and being rescued by the na-
tives _ after she has attempted suicide in
jumping from his yacht. The love conflict
becomes dominant when the husband con-
veniently reappears on the scene. The
dominie has a mental struggle with the
commandments in his trying to play square
with the husband. But Providence saves
him. The husband meets his death in a
subsequent storm, which is executed with
a fine thrill.

The production is much better than the
story and offers some enchanting exte-
riors and an abundance of atmosphere.
It is adequately cast and played with cred-
itable feeling by Leatrice Joy, Percy Mar-
mont, Laska Winter, and Adolphe Menjou.
The latter has little opportunity to flash
his familiar subtleties. He seldom uses his
talented eyebrows.

Those Who Dance

'J' hat great American industry, bootleg-
ging, is dealt with here — in a story that
is decidedly timely and provocative of good
suspense. The author deals with life in
the raw — and whisky in the wood— and he
tries to point out, and succeeds in a melo-
dramatic way, the effect of bootlegging on
our modern social fabric. Everyone should
find interest in it. The story opens with
scenes ("hie") of the filthy" holes where
wood alcohol is bottled as imported stuff
and the effect of this poison on a jazz
party which winds up with a realistic auto
wreck that kills a girl. The boy driving
has been blinded by the hooch. Then we
are drawn into the actual story and shown
some exciting rum-running scenes.

Here is where Blanche Sweet enters and
proceeds to give a characterization com-
(Continued on page 106)

Blanche Sweet, Matthew Betz and

Warner Baxter in a tantalizing scene

from Those Who Dance

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ne)| I MAGAZINE L

Jn the Bell System laboratories speech sounds are recorded on the oscillograph with a view to their subsequent analysis

The service of knowledge

The youthful Alexander Graham Bell, in 1875, was ex-
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During this search for knowledge came the discovery that was
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The search for knowledge in whatever field it might lie has
made possible America's supremacy in the art of the telephone.

Many times, in making a national telephone service a reality,
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Our Otfn Little K-K-Klan

(Continued from page 25)

us has had time to read; of shops which
contain the smartest clothes; of the time,
energy and concentration it takes to
achieve individual dressing. Of husbands
— of which Madge possesses one and I do
not. Of a book of Chinese poems Madge
adores, given her by Harrison Ford. And
we brought all our philosophy to bear on
life — of how difficult it is to walk "in the
middle of the road." Of the courage and
wisdom it takes to carry on.

"I try to look upon life," said Madge
wisely, "as just a series of steps in
character building — phases and experiences
which are the straws and sticks to mold
the foundation of our completed selves.
And we can sum it all up in this: If life
is to be worth living, it must be lived
worthily. It must be like bookkeeping;
it must balance in the end."

We were nearing the city, and a glorious
sunset over the Hudson cast a glow on
Madge's face and lingered there as tho
unwilling to leave a resting-place so un-
utterably sweet.

To me, Madge is like a poem of perfect
rhythm, or a piece of music without one
discordant note. And because she has
withdrawn for a space from the busy
throng to search her heart in some still
place, she has remained unspoiled. One
cannot possibly be with her without absorb-
ing some of the goodness she unconsciously
radiates. So broad is her understanding,
so far-reaching her vision, and so simple
her heart.

Tf the Tall Young Man sees this, he'll
shrug cynically and say "I told 'em so."
But I defy him or anyone else to try

to write about Madge and not use up all

the adjectives there are, and then try to

invent others more adequate.
It simply cant be done.

That's Out

(Continued from page 61)

many other obstacles have arisen to block
their progress that very little actual film-
ing has been done to date, in spite of the
fact that Director Brabin and company
have been in Rome for over four months.

On very good authority I learn that in
all probability another director will be
sent to Italy to complete the production,
and, strangely enough, both Marshall
Neilan and Fred Niblo have announced in
the past few days that they are starting
for Europe on some vague and mysterious
journey. According to "dope," one of
these men is going to take over the direc-
tion of Ben Hur — or perhaps both — who
knows ?

Whatever develops, future events will
no doubt prove that the production could
have been made more economically, and
just as convincingly, right in little old
Hollywood. But, then, it has been a won-
derful pleasure trip for the company. If
Ben Hur ever makes a nickel of profit for
its producers, it will be the miracle pic-
ture of the age.

How to See the World at No
Expense

C peaking of Ben Hur and pleasure trips
^ stimulates the thought that these un-
necessary journeys to foreign climes are
assuming such proportions that it is time

OTION picnmn

MAGAZINE p

some of the producers awoke to the fact
that they are being bamboozled.

Of late, it has become quite the fad for
directors to see the world at the company's
expense by simply picking out each time
a story laid in some different foreign land
and announcing that it will be necessary to
go to the native country to "get the proper
atmosphere."

Every day one reads the announcement
that a director and company has gone to
the Sahara, the South Sea Islands, Alaska,
Zanzibar or Peru to get natural back-
grounds.

And in each instance, when the film
is finally viewed on the screen, it is a
great disappointment, and we learn that,
so far as pictorial values are concerned,
far better results could have been achieved
by building the foreign country to order in
Fort Lee or Culver City.

However, directors cant be blamed for
wanting to travel at someone else's ex-
pense. We'd probably do it ourself if
we had the chance.

Preaching but not Practising

The worst of these reform movements
•and organizations, which set out to
uplift the screen, is that they are long on
talk and short on doing anything actually
helpful. Here is more concrete evidence
of it:

The National Congress of Mothers and
Parent-Teacher Associations recently met
in Detroit and launched a violent attack
on the current epidemic of sex motion
pictures. And yet Boy of Mine, a clean
and beautiful film, played to poor business
in Detroit, while Three Weeks packed
them in.

Where were the Mothers and Parent-
Teachers organization members that they
didn't patronize Boy of Mine? The
answer is that they were down to the
other theater viewing Elinor Glyn's
Three Weeks.

We advise the leaders of these re-
form movements, and the organiza-
tions which set out to uplift the
screen, to adopt for their slogan:
Actions Speak Louder Than Words

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101 I MAGAZINE L.

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88
ee.

Adventures Off- Scene

{Continued from page 40)

the day's work, its stupidities and troubles.
When I go to see a picture I do not want
to be "educated," or solve problems, or
think. I want to be entertained. I want
to be lifted out of
myself. I want to
see my heroes and
my heroines doing
the things that I
dreamed of doing
in my youth — that
I want to do now.
I want to give my
adventure com-
plexes an airing..
Screen romance
does for picture
lovers what music
does — re-creates
the world, fires
the nerves and
emotions.

I -saw - Novarro
just before he
sailed on the
Leviathan to do
B e n - H ur for
Metro-Goldwyn
over there. He is
Latin — all Latin,
and he breathes
mystery and fire
and adventure.

"I believe," he
said, "that life was
invented in order
to play. Life is a
romance. It is al-
ways young. If I
can fire the world
to romantic action
thru my roles, I
feel that I am liv-
ing millions of
lives at once."

Ramon, you've
got the right dope.

On the deck of the Leviathan, when he
r yi (~* a. was sailing for Italy to play Ben Hur,

A . Novarro said to me: "I can fire the

Question world to romantic action thru my roles"

VUhy not Louis

Wolheim for the part of Peter Pan?
Here are grace, ethereal movement and
magic wistfulness. Has Sir James Barrie
seen Louis in action? One glimpse will
convince.

(Talking about Peter Pan, recalls a chil-
dren's matinee of the Barrie play at
the Empire Theater, some years ago,
at which Mark Twain was the guest
of the children. I was there with the
famous humorist and his young admirers.
It was such a magical two hours — Mark
Twain, Maude Adams, the children and
the play.)

About Those Two

Just before they left for Europe I had
the great pleasure of a private audience
with the Thief of Bagdad and Dorothy
Vernon of Haddon Hall. They are, as
you may have guessed, somewhat and
sometimes known thruout the world as
Douglas Fairbanks and Mary Pickford.
They are even known as Mr. and Mrs.
Douglas Fairbanks, but this is unusual.

I once came near asking the gentler
branch of the family whether she was
Mrs. Douglas Fairbanks or Mrs. Mary
Fairbanks, but my courage failed, and as I
was about to ask the question Mary's

brown eyes (she positively has brown
eyes, and not blue ones, as Harriette
Underhill has averred) opened so wide
that I got quite lost in their bright depths
and mumbled, "It
is a fine day,"
"Awful murder —

wasn't it ?" or

something like
that.

As I was
ushered into their
apartment at the
A m bassador,
Prince Leap-O'er-
the-Moon was in
confab with no
less a person than
Jack Dempsey. I
believe Doug was
going to spar
about fifteen
rounds with him
at Madison Square
Garden — "just to
limber up a bit
before hitting the
trail for Russia,"
he said afterward.
Doug leaped out
of conference with
a bound to greet
me, and wrung my
hands with such
warmth that I
fear for Jack
Dempsey if ever
he curls up that
hand and goes
after him. Doug is
dynamic laughter,
a spring always
uncurling in all
directions.

"I've got Jack
on my hands, and
I'll see you in a
minute," he said,
as he catapulted
himself back into
conference.

As I sat in the
big bedroom alone,
a dog came running to> the door, gave me
a long-distance sniff and came bounding
over the bed, the chairs and the bureau
a la Doug. He had watched his master
so long on the sets at Hollywood that he
refused to walk or run, and found the
air-line the shortest route between two
given dog points. Doggy then sniffed me
all over as much as to say :

"Are you looking for a job, or are you
a friend ?"

I was told afterward that he gave a
sharp bark for job-hunters, and if he re-
mained silent it was a sign for Mary and
Doug that the coast was clear — it was
only a friendly call.

As there was no bark, Mary herself
appeared at the door, a cordial greeting
in her whole attitude.

If Doug is all action, Mary is all repose.
Here is a couple that complement each
other in every way. Mary is Doug's
balance-wheel ; Doug is Mary's life-in-
spiration. The absolute of masculinity
united to the absolute of femininity. I
could never conceive of these two ever
being apart.

This time I was going to have it out
about Mary's eyes. I popped the question.
"Many people believe my eyes are blue,"
(Continued on page 98)

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(Continued from page 69)

I visited the five most important houses
and found them alike in importance for
different reasons, for they were each and
every one so individual in decoration and
appeal, that it would be difficult to pick out
"the greatest."

The Union Palast, built above a fashion-
able restaurant, has as an approach to the
auditorium an exceptionally broad stair-
case, richly carpeted, with the adjoining
walls alternating with huge framed
mirrors and handsome brocades. The
auditorium itself is a cube-shaped room,
simple and restful in design, and paneled
in dark wood, with a very high ceiling
which gives an air of vastness to the odd
shape of the auditorium. Magnificence
was displayed in the uniforms of the door-
man and the tall, liveried ushers, who
took the tickets and pretentiously bowed
you to your' seat.

We were quite thrilled at the plum-
colored resplendence which was very much
bebuttoned in bright metal and befrogged
in silk braid, to say nothing of the gal-
lantry of the men who wore the uniforms.
One fine old fellow, a veritable giant, with
the most elaborate and gorgeous gray
moustache I ever have seen, literally
folded us under his broadcloth wing. He
took us to our seats, checked our hats,
fetched us programs, and actually acted
as a call-boy. We had confided to him
that we had an early dinner date, and at
the appointed time he invited us to leave,
as per instructions, and bowed us all the
way out to, and thru, the door.

One night, for the nine o'clock perform-
ance, we visited the famous Marmorhaus,
across the street from the Union Palast.
The Marmorhaus is famous for its ex-
pressionistic decorations, for they were
executed by the finest exponent of the ex-
pressionistic art in all of Europe. The
theater is a glory of scarlet and green and
gold and black, with amazing figures and
lines of compelling force.

It certainly is the real thing — not an
imitation, and there is a vast difference
between the two in the European theater
today. The imitation is the crazy wild-
ness which expresses the unrest of the
period and is found in many houses,
whereas the uniform modernity of the art
in this theater has a central idea with
motifs carefully worked out that make for

balance and rest fulness. There is rhythm
nf line and balance of color here. The
stage curtain was the piece de resistance,
for it was gloriously embroidered in silks,
and had appliqued figures in brilliant
colors. Two large gold figures, in the
true expressionistic style, stood guard at
each side of the curtain.

In the Princess we found a contrast,
for it is like neither of the other two
theaters. It is not so conservative as the
Union Palast, and yet by no means ex-
pressionistic in style. It is a fine example
of the best in more conservative modern
decoration. The building was not originally
erected for the movies, but was made
over into a very cozy and charming little
theater, decorated by the well-known
poster painter, Lucian Bernhard.

All of the attractive lighting figures,
brackets and sconces, as well as a very
remarkable central cluster of lights, were
especially created for this movie house.
To cover the electric bulbs, there are
lovely flower-shaped buds, made of soft,
pale-yellow silk, with outer petals of rose-
pink; and the arms that hold these lights
are long, graceful, flower-like stems. It
gives a very lovely garden effect. The
silks used in the hangings were also spe-
cially printed. The architectural lines of
the house are along the modernized Gothic,
which give it an air of dignity and weight
as a welcome setting to the dainty details.

In contrast to this small theater is the
Ufa Palast, which seats nearly three
thousand, and is a handsome building of
extremely modern architecture, modernly
but conservatively decorated. It adjoins
Ernst Lubitsch's studio, which is the
largest in the city of Berlin, and is the
place where he made his last picture —
Pharaoh — and also where he made his
first big success as a director.

Last, but by no means least, there is the
extravagant Tauentzin Theater. It is very
elegant indeed, and ultra smart in its
modern decorative treatment as to interior
decoration, lighting, over-attentive attend-
ants, and general contour, externally and
"interiorally." We had to stand in line
ever so long, trying to buy a Million-
Mark-Seat, to be told, as we reached the
window, that they were entirely sold out !
There was nothing left but the One-Mil-
lion - Five - Hundred - Thousand-Mark seats.
So we had to pay thirty-five cents after all !

'90

—

,0T10N PICTURn

MAGAZINE •)

Letters to tke Editor

(Continued from page 72)

In Defense of Pola Negri

Dear Editor: I do not as a rule rush
into print, but R. Fox's letter in June
Motion Picture Magazine, criticizing
Pola Negri is, I consider, sufficient cause
for my doing so, and I hope that you will
allow this letter to be printed.

R. Fox judges Aliss Negri by one pic-
ture, Shadows of Paris. This is a flagrant
injustice, and should never be done. I
have not seen Miss Negri in this picture,
but I have seen her Du Barry in Passion
and her Bella Donna. In Passion, she is
wonderful, because she is sincere and com-
pelling, and acts without restraint. In
Bella Donna, the director tries to make her
over into a mixture of wickedness and
mawkish sweetness — an impossible com-
bination. Considering the disadvantage
under which she worked, she did well, and
won an editorial from the editor of our
most important daily paper. This editor
is an exceedingly clever critic and an
author of no mean ability. My only
criticism for Miss Negri in Bella Donna
is that she was a little too stagy in the
tent scene with Zarondi. Miss Negri is
one of the finest actresses in the motion
picture world and, given proper direction
and suitable pictures, should go far. I
would like to see her in her own environ-
ment. She could not play Mary Pickford's
pictures, nor could Mary Pickford play
hers. The censor and the American direc-
tion are responsible for her bad pictures.

Mr. Valentino and Mr. de Roche can-
not be compared. The one is a costume
man, the other can do anything. Valen-
tino, in ordinary clothes, does not appeal.
He has his own type. I would like to
see him play with Pola Negri. Mr. de
Roche is a fine actor, he only needs to let
himself go a little more. Give him time.

I wish all fans would bear in mind that
critcism should be helpful, not stinging and
cruel. Bearing in mind that tho an actor
or actress may not appeal to certain fans,
they most certainly have other fans who
are devoted to them. Therefore, you fans,
helpfully criticize the stars you admire,
and avoid the pictures of those you do not
like. Also bear in mind that the directors
make the pictures, not the stars.

I think Ramon Novarro would make an
excellent Romeo, and I would like to see
May McAvoy, that delightful and whim-
sical little actress, as the blind girl in The
Last Days of Pompeii.

I would like to throw a bouquet to Miss
Colleen Moore as the flapper in Flaming
Youth. She was excellent. Miss Myrtle
Stedman as the mother was also excellent.

To Ernest Torrence the laurel crown.
As the clown in Singed Wings he was
perfect. Laughter and tears. Comedy
and tragedy. We laughed at him with
the tears in our eyes for the tragedy of
it. All hail, Mr. Torrence!

To all the actors and actresses who give
us of their best, a thousand thanks.

Thanking you for your patience,
Very truly yours,
N. A. F.,

British West Indies.

Telling Tales on Rudolph

Dear Editor: In the May number of
this magazine you printed a short little
comment expressing admiration for the
way in which Rudolph Valentino met the
unpleasant innuendos concerning his tem-
perament and uppish manners which had
(Continued on page 95)

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Marjorie Daw (center), Alice Joyce's brother Frank, and Alice

herself, and a host of friends, taking tea in the London studio

where The Passionate Adventure is being filmed

Trailing the Eastern Stars

(Continued from page 71)

know, the dewy-eyed Billie is Mrs. Irvin
Willat, wife of the w. k. Paramount
director, who is now in the East making
Story Without an End. Reports have it
that Billie will be in his next picture. At
all events, she is not abandoning the screen
for the stage.

Tarry Trimble and Strongheart are ' in
town. Strongheart, the screen's dra-
matic canine, is enjoying a rest at his
"country estate" in White Plains, N. Y.,
whereas Larry is combining business with
pleasure. He has just completed arrange-
ments with his publishers for the fall pub-
lication of his first book, dedicated to
"Strongheart's friends." The title is
Larry Trimble's Dog Book, by Lawrence
Trimble. Sweet, isn't it? Air. Trimble
has contracted to write a series of dog
articles for the American Magazine, and
he admits that a tempting production offer
may keep him in New York for at least
one picture. Oh, yes, he will do more
films with Strongheart.

Our most heartfelt sympathy is extended
to Doris Kenyon in her hour of grief.
For Doris recently lost her father, who
was also her pal. Last year, a book of
their poems, half of the volume written
by each, was published. Doris has not
faltered in her work. Work eases pain.
She is now completing Bom Rich, with
Claire Windsor and Bert Lytell.

Dichard Barthelmess has evidently
patched up whatever difficulties existed
between him and Inspiration Pictures, for
the popular star has begun work op his
new production, Classmates. The picture
is adapted from the play, in which Robert
Edeson originally appeared, by William
de Mille (the difector), and Margaret
Turnbull.

Classmates was filmed years ago by the
old Biograph Company, with a cast boast-
ing Henry B. Walthall, Blanche Sweet,
and Marshall Neilan. John Robertson,
who has handled the megaphone for
Dick's last few films, will be in charge of
his latest.

TvJita Naldi is working again with Val-
entino. When the exotic Nita returned
to New York after making Blood and
Sand with the patent-leather-haired one,
she enthused to us that "Valentino is one
of the greatest artists on the screen."

And now, she is cast to vamp the
slumbrous-eyed one again. Is she happy?
We'll say she is, as the lady of the daring
gowns and "come on" look in A Sainted
Devil.

XMv were strolling leisurely down Fifth
Avenue the other day when whom should
we espy but Dagmar Godowsky, rushing
madly.

"Hello, hello," Dagmar cried, as we
hailed her. "How are you?" Her dark-
brown eyes had a haunted, look and the
piquant face seemed a bit weary. "I am
working in two pictures at once," she ex-
plained. "I must get a negligee at once,
and in half an hour be at the studio. Is
it not terrible?"

We agreed and sympathized in the same
breath.

"It is rush, rush, rush," she sighed.
"From the Paramount Long Island Studio
where I vamp in Story without an End,
to the old Talmadge Studio, where I vamp
in The Price of a Party. And I am so
tired. Ah," enrapt at the mere thought,
"if I could only sleep for days and days."

"I shall," she announced briskly, "i
shall. When I finish these pictures I am
going to visit the Heifetz family (Jascha
Heifetz, the famous violinist and his par-
ents) at their home in Narragansett Pier.
Will it not be glorious?"

Dagmar glanced at her watch, stifled a
despairing shriek, and with a tight clasp
of her gloved hand, dashed off to purchase
her negligee.

VIZ ill Rogers is another movie stellar
light starring in the Ziegfeld Follies.
Rogers gum-chews and rope-lariats thru
a humorous satirical monolog that keeps
the house rocking in glee. _ The man ^ who
introduced chewing-gum into the "best
circles" is not deserting the screen. Even
now, he is supervising several scripts

'92

which he may put in production soon at
a Xew York studio.

f~* eorge Seigman, who played a "half-
way" heavy with Barbara La Marr and
Lew Cody in The Shooting of Dan
McGrew, was brought on from the Coast
to play the heavy in Valentino's last Para-
mount production. This is Seigman's first
trip to New York in several years, and
the old town looks good to him.

C an you imagine Blanche Sweet — the
extraordinary Anna Christie of the
screen — playing the title-role in a picture
called The Sporting Venus? But then,
the wistful Blanche isn't anything if not
versatile. Her famous director-husband,
Marshall Neilan, will produce this feature
on the Continent.

Before the Neilans sailed for the other
side, Mrs. Mickey consented to be the
guest of honor at the Woman Pays' Club,
a club of professional women in New
York City. She looked stunning in a sim-
ple velvet gown, with a black hat coming
low over her eyes.

"I really cant make a speech," Miss
Sweet confessed, blushing at her frank-
ness. "Tho my husband questions the
occasion when I have nothing to say, I
dont think he means the same thing I do,"
laughing.

At all events, Miss Sweet succeeded in
conveying to the Club members the charm-
ing truth that she was about the happiest
girl there is, and that her husband was
just a darling.

T ew Cody breezed into New York only
to breeze right out again embarking to
England, where he is to join Mickey
Neilan and start work on that director's
forthcoming production, The Sporting
Venus. We are happy to inform you that
Lew will continue to star his moustache.
"It keeps me from catching cold," he
claims.

D ichard Dix is looking forward to his
first starring production for Para-
mount. Dick is due to return to New
York soon from the Bahamas, where he,
with the rest of the Bebe Daniels com-
pany, are indulging in locating scenes for
Bebe's initial starring picture, Saints Are
Sinners.

{Continued on page 102)

Kathleen Key sails for Rome
to play Turzah in Ben Hur

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Outshining
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The Face on the Cutting-room Floor

N article told in Dorothy Donnell's delightfully human and humorous way
L of the silent tragedies that are enacted when the "Extra's" role, upon which
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The Wittiest Man in America!

/^uess who? Jim Tully tells you in his article. But then Mr. Tully has a
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Be Sure to Get the September

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That "Different" Screen Magazine
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PAG

^MOTION PICTURF
«l I MAGAZINE I-

Have You Wondered Why
Some Toilet Goods Clerks So
Persistently Push One Line?

A REPRESENTATIVE of the Federal Trade
•**■ Commission made an address at the last con-
vention of the National Association of Toilet
Goods Manufacturers calling their attention to a
situation which threatens the good faith between
department stores and their customers. Now that
the spotlight has been turned on this evil practice
which has grown up slowly, it must inevitably
disappear.

Many women have, no doubt, been at a loss to
understand the persistent and of ten adroit methods
by which clerks at toilet goods counters in depart-
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other than the one they had intended. They are
frequently irritated by this, but how completely
they would resent it if they knew the real facts.
The young woman who is trying to substitute is
not an unbiased clerk of the store, but in truth, the
employe of a manufacturer masquerading as a
clerk.

In a great many department stores of this
country the salaries of all the clerks at the toilet
goods counter are paid by individual manu-
facturers. The advantage to the manufacturer
is that the young woman so employed will divert
to his brand all wavering or undecided customers,
and within the limits laid down by the store rules,
switch from other brands.

There can be no objections to the open demon-
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demonstrating and sampling job. But the hidden
demonstrator — who masquerades as an unpre-
judiced clerk speaking in the interests of the store
and with its authority — tends to break down the
good will that is the greatest fundamental asset
which the department store possesses.

At present the only real protection the customer
has is to know what she wants and insist upon
getting it.

f>94

The Story of My Life

(Continued from page 82)

years of wandering all over the country
and working at all sorts of jobs, I had
found the one thing I wanted to do, and I
determined to stay with it.

Douglas Fairbanks became a Lasky star,
and as he thought I was a good heavy type,
he used me sometimes, and he introduced
me to Mary Pickford, who was a star
with the same company at that time. I
was given a part in her picture, M'liss,
playing the Indian who killed the heroine's
father.

Following this, Miss Pickford was to
make Johanna Enlists, and she was look-
ing for a leading man suited to the role
of Pie-Faced Vibbard. Mr. Fairbanks
thought I could play the part, but I was
becoming established as a heavy, now, and
Miss Pickford couldn't see me in the role.
Say, but I wanted it, tho, not only because
it would be a great step forward for me
to become Mary Pickford's leading man,
but because I actually felt that I was
Private Vibbard.

Fairbanks was on my side, and one day
he told me to go to the wardrobe, put on
a uniform and make up for the role and
see if Miss Pickford couldn't be persuaded
to use me. I did, and as a finishing touch,
I stopped by the cafeteria and got a big
piece of pie. When Miss Pickford saw
me she burst out laughing and said I
could have the role, that I was Pie-Face
to the life.

Following this picture, I made Private
Pettigrew's Girl, with Ethel Clayton. I
cant say enough for Miss Clayton's kind-
ness to me during the making of this
picture. She was the star, but she gave
me every advantage in lighting and close-
ups. The fans seemed to like Private
Pettigrew and I signed a two-year con-
tract with Lasky, playing various leads
with Miss Clayton and Mary Miles Min-
ter. Cecil De Mille gave me the role of
Henry Adams in Something to Think
About, and I was then featured in "The
Jticklins and The Kentuckians.

When my Lasky contract expired, I
went East to make Peacock Alley with
Mae Murray, and then once more worked
for D. W. Griffith, playing Danton in
Orphans of the Storm. It seemed great
to be back under Mr. Griffith's direction
again, and of all the roles I've played on
the screen, Danton remains my favorite.

I free-lanced in the East for a while, in
December of 1922, and returned to Holly-
wood and signed my present contract with
Warner Brothers, my first picture with
them being Brass. This was followed by
Main Street, Lucretia Lombard, and The
Marriage Circle.

At present I'm looking forward to the
filming of Debureau, the Belasco stage
success. The role of the great French
pantomimist who loved Camille is widely -
different from the tired husband parts I've
been playing recently.

That's one reason I'm enthused over it,
probably. The urge to escape monotony,
which in earjier days led me from the coal-
mines of Pennsylvania to the logging
camps of the Northwest, from clowning
in a circus to day-laborer on a motion pic-
ture studio lot, is still strong in me. I
dont want to do one stereotyped sort of
thing all the time.

I dont regret the years spent wandering
around, before I found myself. If I have
any ability to portray life realistically on
the screen, it's because I've lived it. I've
seen life from all sorts of different angles,
and have found that my experiences all

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helped me when I finally found the work
I wanted to do.

Occasionally I run across people who
knew me before I became an actor.
"Pretty soft for you, Monte, these days,"
they say, sometimes.

But it's not "soft." I'll tell you, when
you throw yourself heart and soul into
your work, no matter what it is, you'll
find you haven't a soft job. I've never
looked for one.

In time, I want to direct. With that aid
in view I'm constantly studying the details
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can find a motion picture director who'll
say his job is a sinecure, it's more than
I can do.

Letters to the Editor

(Continued from page 91)

so disturbed him and which he felt he must
dissolve.

I am not at all surprised that he handled
the matter so well, for he is both a gentle-
man and a sport, and I'll tell you how I
know it.

I have just arrived in New York from
California, where I lived for several years
with one of my sons in his Berkeley home.
Like many other families we were very
much interested in discussing the different
movie stars, and among them Valentino.
As a rule, the men were not at all com-
plimentary to him. I think they all suffered
more or less from jealous qualms when his
name was mentioned — tho they would not
admit it, of course ; but I always main-
tained thruout all their discussions that he
was one of the few real gentlemen on the
screen and a good sport to wit.

One night as we sat down to dinner my
son with smiling face said, "Well, mother,
I must hand it to you for being able to
pick out a sport and a gentleman. I saw
a young friend of yours in action today
and I must say I was carried away with
admiration for him, he certainly rung true
and is a good sport, and a gentleman."

Then he told his story.

He was driving around a large body of
water (if I remember rightly the upper
waters of San Francisco Bay), when he
saw a moving picture outfit busy taking
pictures of a couple of boat-loads of Uni-
versity of California rowers, evidently
practising; and as the waters were rough,
and they were having a hard time, he
stopped to see them land.

When they did land he saw that Valen-
tino was among them, bidding them good-
bye and thanking them warmly for their
fine work, and the way they had co-
operated with him to get a good picture,
and hoping to meet them again.

When the boys found out my son was
on his way to Berkeley, their home town,
they asked for a lift in his car and some
dozen or fifteen boys piled in.

After a while, when they had got their
wind and found out that my son was also
a U. of C. boy, tho of some years past,
they began frankly discussing the event
of the day.

It appeared that the rowing club of the
U. of C. had been engaged by the moving
picture company to do the rowing scenes
in The Young Rajah, and they, like a
great many other males of that time, were
rather prejudiced against him (Valen-
tino), and determined to make it as diffi-
cult, as hard and disagreeable, for him as
possible. "Give him a taste of real work."
"Have a good laugh at him." "Let him
know what was really involved in heading
a college team." And in this spirit they
began their day's work. They did all sorts
(Continued on page 105)

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GMOTION PICTURP
UBI I MAGAZINE L

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Mary's father stormed and raged about the room calling upon Heaven to

witness that he had done what was right by his children while she had

done everything wrong

Dont Deceive Your Children

(Continued from page 52)

see if Lynn had. So Lynn went back to
his cot, well content.

The little excitement of the unexpected
cocktail had not quite worn off for Hal.
Down on the beach he watched Tish dive
off Max's shoulders and Max tumble in
hastily after her. He stared at the water
a moment and then turned back toward
the tents.

"Why, Hal !" exclaimed Mary in sur-
prise, as the boy peered thru the half-
opened flap. "Run along now, like a good
boy. I dont want to swim."

"Oh, come on, be a sport, Mary." He
opened the flap a little farther.

"Stop !" cried the girl, gathering the
blankets around her. She got up and
walked to the opening. "I wont have this,
Hal."

"You darling," muttered the boy thickly,
and reached out his hand.

"You're being contemptible," exclaimed
Mary, angrily.

"I cant help it, I'm mad about you. I've
got to have you "

That was what he said but what Marv
heard somehow or other, was the gentle
voice of her mother saying, "Remember
I trust you absolutely, anywhere, under
any circumstances." And Mary suddenly
had enough of modernism, radicalism, call
it what you will. She reverted to type
in a breath-taking second. She made the
swiftest decision that ever was made. She
ripped open the tent flap, brushed the
startled Hal aside, walked over to the
camp fire, stood still with her head' in
her hands for a moment, gave one
frightened cry, and collapsed in a tumbled
heap on the ground. Hal went to her and
Max and Tish came dripping from the
lake in response. But Lynn got there first.

"Mary," he murmured, keeping the
others away. "Dont get sick, dearest.
This has all been a horrible mistake." He
chafed her hands. They seemed qui'.e
warm, but her eyes were closed. "Darling

girl," he went on feverishly, "we've been
wondering what life means and I know
now it means you and me for eternity.
I've always known it and you must learn
it, dear. . . . Get a blanket," he ordered
suddenly, "we'll take her right home. This
may be serious. We've all acted like a
lot of darn fools. If anything happens
to Mary because of this, I'll never forgive
myself."

Mary opened an inquiring eye. Arrange-
ments for their departure were proceed-
ing satisfactorily. She closed the eye
again delicately and relapsed into her
former unconsciousness . . . still in Lynn's
arms . . . she was glad she had though*
of it . . .

Safe at home at the hour of four A. M.
Mary decided to resume consciousness. "I
wasn't really sick," she said. "I just had
to get us all back home, so I did some-
thing desperate "

"Well, what was the idea ?" queried
Tish, in lusty disgust.

"I wanted to go thru with it, but sud-
denly I saw things the way our parents
did. It didn't seem fair to make them
suffer." Mary shook her head. "There is
something very beautiful about even their
old-fashioned ideas."

"Oh. well," said Tish philosophically.
"I'll probably have to marry Max now.
I'm compromised !" Max flung his arms
around her happily. "And I might as
well," she continued in her incongruous
voice, "marry him first and experiment on
him afterwards. He doesn't necessarily
have to be final."

They started to go and Hal feeling
himself defeated turned with a parting
shot : "I'm horribly disappointed, Mary,"
he said, "you were thinking with some
distinction, but you've gone back to the
average level."

Mary smiled politely and Max and Tish
followed Hal out. Her eyes dropped and
her face softened, however, as Lvnn

„„-J[JTU)N PICTUR!

6)1 I MAGAZINE

lingered long enough to whisper, "You
didn't tell the whole truth ; you came back
because you found out which one you
wanted to marry "

But he was gone before Mary could
either affirm or deny. Now Bobby came
tiptoeing gingerly down the hall to tell
Mary to "lay low — someone is coming."
The someone was their father followed
by their mother, and Mary and Bobby
sank down behind the couch. As long as
Mary lived she would never forget what
followed ; could never forget the look on
her mother's face as her father stormed
and raged about the room calling upon
Heaven to witness that he had done what
was right by his children while she had
done everything wrong. She heard her
gentle mother say, "When you grind out
that old stuff, I could shriek ! Sometimes
I cant breathe in the same room with you.
I loathe everything you say or do. When
you tell me how 'right' you always are, I

■ — I could strike you " She heard her

father's furious reply. She clutched
Bobby's hand and the two stood up and
confronted the quivering pair.

"I wish," said Mary slowly, "I wish to
God I had never come back."

"Look here, young woman," muttered
her father recovering himself, "have you
no conception of the sanctity of the
home !"

"Yes," answered Mary, "it was because
of that, that I came home. Now I know
it's a joke." She laughed shrilly.

"Oh, my dear," said her mother, "you
must not talk like that. Your father and
I are devoted. We love each other and
our home is blest — — "

"Oh, we heard the row," interrupted
Bobby.

"And you needn't keep up the pretense
any longer for our sakes," added Mary.

Father and Mother looked at each other
helplessly. All their years of pretending
were wasted now. They couldn't go on
as they had been before, but could they
change? Mary the Second felt very old,
older than Mary the Third, and the disillu-
sionment of eternity lay on the shoulders
of Mary the Third. Robert was looking;
at his wife anxiously, still angry but
utterly perplexed. "I'll go," she said wearily,

"I've often wanted to there is no

further use in our standing together
now "

"Mary !" exclaimed her husband in sur-
prise, "you dont really mean that "

"Yes," answered her daughter for her.
"Why not? It is better that two people
separate who loathe each other as you two
seem to "

"But Mary," said Robert again, "you
cant leave me "

"Let her go," answered Bobby this
time, "give her some chance to find hap-
piness."

"Mary," cried Robert again pleadingly.

But his wife had gone and the man
stood wordless before his children. Finally
Mary the Third put her arms around his
neck. "Unless," she whispered, "unless,
Father, you could make her love you
again as you did before. Couldn't you
try? It would be so wonderful."

"I cant think of life without her,"
answered the humbled man, "we must "

There was a sudden crash and the
horrible unmistakable thud of a falling
body, then a hideous quiet. Robert got
upstairs in two steps. There on the bath-
room floor lay his wife, very white and
very still. In shattered fragments be-
side her was a bottle, the label of which
bore ironically intact, the dread familiar
skull and crossbones of the druggists'
warning, poison!

(Continued on page 103)

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PAG

dfi

OTION PICTURE
MAGAZINE L

FAT PEOPLE

Madame Elaine of Paris
Tells How to Easily
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Dear Fat Friend :

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AMERICAN SCHOOL.

Adventures Off- Scene

(Continued from page 88)

said Mary, "because they change in the
light. Then sometimes my golden hair
gives that impression to people ; but they
really are brown, as you can see."

I looked, I saw, I knew.

"I had the finest time of my life as
Dorothy Vernon of Haddon Hall, while
Doug was being the Thief of Bagdad.
You know, we made the two pictures at
the same time, and finished them on the
same day. The last scenes of Dorothy
Vernon and The Thief of Bagdad were,
in fact, shot simultaneously."

"Some family teamwork, I'll say !"
says I.

"Sometimes we would visit each other in
our costumes, I as Dorothy and Douglas
as a Bagdadian. We lunched together in
costume — but never got our parts mixed."

"Well, you know, it is written that East
is East and West is West, and never the
twain shall meet "

"Only in Hollywood at the lunch hour,"
broke in Mary, with a merry twinkle in
her voice.

Just then, Doug, having got out of con-
ference with Dempsey, rushed in the room
and told me of the "stupendous fun" he'd
had doing the Thief.

I think these two lovers have "stupend-
ous fun" just living. They are natural
people, just regular folks, with the
glamour of romance about them always.

Blanche Says a Sweet Mouthful

A wild race in a taxicab against time
— I needed an hour — to get to the
Olympic twenty minutes before she
cleared. Was I going to Europe? No. I
was going to meet Blanche Sweet — Tess
of the D'Urbervilles — before she sailed.
Tess is going to become "the Sporting
Venus" over there. Can you conceive of
a greater contrast in titles or character?

Stars are rolling-stones that gather
moss — you can bank on it, and they bank
the moss.

Blanche's eyes? Blue. Her hair?
Blonde. Her expression? Wistful. As
she sat in her luxurious stateroom with
Marshall Neilan, her husband, a single

word came into my brain— Romance. Yes,
Blanche Sweet is Romance.

"You ask me how I like married life,"
she said. "Well, personally, I believe it
to be the only state in which there is any
degree of happiness to be had for a woman
in this naughty world. I do not lay it
down as a principle for others, but I have
noted this in the motion-picture world —
that among the actresses those that are
married look happier, and seem to put
something more mature into their work,
than do those that are single. I do not be-
lieve in the dogma that artists do better
work when single. It may be so with men
— Mr. Neilan can enlighten you on that
score better than I — but I am sure it is not
so with women.

"In a sense, marriage is taken too seri-
ously — that is the reason there is so much
tragedy and friction. I mean, there should
be more play and laughter between hus-
band and wife. Who was it said, 'The
half of love is laughter'? Why enter
marriage as a 'solemn state'? Are there
to be no more skittles and ale because
people are married?"

But it was time to leave before I could
ask half the questions I had thought of
asking, and as I escaped down the gang-
plank I thought that Marshall Neilan was
a pretty lucky man.

Ben Talks It Over

"Ren Lyon blew in off the Famous lot
out at Hollywood and I landed him on
the fly at the Algonquin at lunch-time.
He has just finished A Passionate Journey,
playing opposite Pola Negri. Ben has
been in pictures only eleven months and he
is already bound starward. And there's a
reason. He is twenty-three. He is every
bit as handsome as Novarro and Valentino.
He has a vivid personality — simple, nat-
ural, electric. If the girls want to know,
I'll tell them Ben has blue eyes, black
hair ; he is dark, with regular features,
and has a smile that would lure a contract
out of a statue's pocket.

"I credit my success," he said, "to the

Three minstrels who add to the picturesqueness of a scene in
Gloria Swanson's new picture, Her Love Story

DTIQN PICTURr

MAGAZINE t

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Nearly One-Quarter Century in Sam* Location.

Ben Lyon opening one morn-
ing's fan mail — twenty letters —
all from the ladies!

fact that I was on the speaking stage for
eight years, before the First National
signed me up. I love the work because it
is fun. I have never angled for publicity
— and this is the first time I have ever
talked for publication. I want my work
to advertise me."

"Tell me about your work with Pola."

"Pola is great to work with! I had
to treat her rough — bit her wrists, threw
her from one end of the scene to the other,
dragged her by the hair, and she enjoyed
it ! Isn't that the primitive stuff for you ?

"I have been in pictures long enough to
find out that motion picture actors and
actresses are the most maligned people in
the world. Hollywood is the dullest place
I was ever in. The whole colony is in
bed by eleven o'clock at night — there's
nothing else to do.

"Since my work as the romantic mu-
sician in Potash and Perhnutter I have
received on an average of twenty letters
a day from female admirers. I enjoy it.
Most all of them want to know whether I
expect to marry. Tell them all for me :
'Not yet — but I'm a candidate.'

"The greatest thrill I ever had in my
life was when I first saw my name in
electric lights in front of a theater in
Los Angeles. That fame-feeling is the
great thing in the world. " I took a photo
of it and had it framed."

And here Ben's face lit up as tho he had
been standing on Mount Sinai. He is very
boyish and enthusiastic.

"And what's the next biggest thrill you
ever had, Ben?"

"The day I bought an automobile — my
first — six months ago. That is another
dream come true."

That young man can make any dream
come true, I said to myself as I left him
enthusing to someone on what a great
play Fata Morgana is.

But the question is still open : Will
Ben Lyon marry?

Carmelita's Sparring Partner

/"•armelita Gerachty, who plays oppo-
site Jack Dempsey in the Fight and
Win series, went into her training quarters
early last winter in the extensive grounds
that surround her magnificent Hollywood
home.

The beautiful Carmelita is a fighter all
the way thru — comes from old Spanish-
American and Irish-American pioneering
stock. So when she was offered the lead
opposite the champion bruiser of the
world, she accepted with a wild punch out
of her great brown eyes that sent Jack
staggering to the ropes' with surprise.

She got into sweater and tights and
offered to box her father, Tom Geraghty,
to a finish. But Tom flatly refused, as he
(Continued on page 109)

EARLE E. LIEDERMAN
The Muscle Builder

If You Had a Face
Like a Monkey

you would try to change it. But just because you
wear a pair of pants and a coat to cover the rest of
your body you don't seem to care a rap what you
look like from the neck down. Come on out of it,
fellows. Get wise. Don't you know you can't
keep this up? It's only a few years and ZOWIF. — it's
too late. Your body is clogging up with all kinds of
poisons. The only way to get rid of these poisons
is to drive them out. Exercise wears off the worth-
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then you sweat it out through your pores. That's
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I Make Strong Men

No one likes to look at a narrow-shouldered, flat-
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I Can Do It

Just because a man is built like an ox doesn't mean
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Dept. 309, 305 Broadway, New York City

EARLE E. LIEDERMAN,

Dept. 309, 305 Broadway, New Yortc City.

Dear Sir. I enclose herewith 10 cents for which
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(Please write or print plainly.)

99
PAG

OTION PICTURr
MAGAZINE L

Freckles

AMUSE YOU IN THE MOVIES

But it's not so funny to have them in real
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The Realtors of Filmland

(Continued from page 29)'

about to put up an apartment-house in
Hollywood. She is going to be a landlady,
too. She says she knows beforehand that
nobody will ever pay the rent, and that she
will never have the nerve to put anybody
out. So she will be running a sort of
public housing establishment.

Tony Moreno's case is a little different
from the rest of the Hollywood realtors.
He is no amateur. Altho his real fame
as an actor is of comparatively recent date,
he has drawn a good salary for many
years, and has always saved money. From
his investments in oil alone he has a per-
manent income of from fifteen thousand
to twenty-five thousand dollars a year.
His wife is a very rich woman. She was
the daughter of Charles Canfield, the old-
time mining and oil partner of E. L.
Doheny of recent fame in the senatorial
investigations. So Tony was well heeled
when he became a realtor.

The Morenos bought a considerable
tract of land surrounding their magnificent
Spanish mansion overlooking Silver Lake
in a range of hills that lines Los Angeles
River. They have thrown this tract on
the market as "The Moreno Highlands,"
and are cleaning up a new fortune on it.
The property had lain neglected for years
while the city raced on down toward the
sea. Only recently has there been a move-
ment toward the hills. Tony started this
movement and will make a lot of money
thereby.

Probably the greatest realtor of them all
is Ruth Roland. Her case is also differ-
ent. She has lived in Hollywood since she
was a little girl. When she first went out
there to live with an aunt, the present busi-
ness part of Hollywood was a hay field
and the present Lasky studio was an old
barn. Ruth came of good stingy Swiss-
Irish stock. The result is that one of the
finest residence districts in Los Angeles is
called Roland Square and Ruth has the
money in her pocket. She owns several
apartments and houses and is reputed to
be worth something over two million
dollars.

Illustrative of Ruth's cold-blooded busi-
ness sagacity, she hires her divorced hus-
band as her business manager. She was
so cross with him that she refused to have
him as a husband, but she wasn't too mad
at him to take advantage of his sound
business efficiency.

And so it goes. Nearly everyone in
Hollywood has an oar in. Even Jackie
Coogan. He has a lot of Los Angeles
realty and a big cattle ranch in Nevada.

Conway Tearle has a big real-estate
tract on the market, but for some reason
does not want to be known in the matter.
So, on reading this, kindly do not reveal
Conway's secret and tell anybody that he
has a real-estate tract.

Anna Q. Nilsson is an enthusiastic real-
estater. Also an extensive oil operator.
She is making a lot of money out of Cali-
fornia. Norma Talmadge has very exten-
sive investments both in real estate and
oil. But then, of course, Norma was rich
to start with. She and her husband are
supposed to have thirty million dollars or
more between them.

Mary Pickford does most of her busi-
ness in bonds, so as to be safe ; but the last
time I saw her she told me that both she
and Douglas had plunged heavily into
downtown Los Angeles real estate— 1 both
in Hollywood and farther downtown in
the business section of the city.

Pola Negri says she has taken only one
flyer in real estate. She has no cause for
tears in that one, however. She bought a
piece of property on Hollywood Boulevard
and sold it a few weeks later at a profit
of thirty thousand dollars.

It's not only the big stars either. Tom
Wilson, who has been so long with Charlie
Chaplin, has made a lot of money turning
over Hollywood real estate. Hal Cooley
has a real estate tract all his own down
Beverly Hills way. Barbara La Marr,
Bessie Love, Louise Fazenda, Aileen
Pr ingle, and a score of others have made
big money in Los Angeles.

One of the heavy plungers in realty

Monte Blue is preparing to write a check for another piece of
property in the hills near Los Angeles

and oil is Mack Sennett. Owns something
over two hundred acres in city lots.

One of the actors who has grown rich
in Hollywood is Milton Sills. He was a
college professor and became an actor
solely to make money. He has made it.
He is a skilled, conservative investor who
always balances his real estate specula-
tions with gilt edge bonds that are not
subject to income tax.

In this list I do not include Cecil De
Mille. He is the richest man in the movie
colony. He has made millions ; his invest-
ments are such that it means that his chil-
dren will be in possession of one of the
great American fortunes.

From which it seems that they do not
live for art alone in Hollywood.

Ruth Roland is the

greatest realtor of

them all

Coming Events

r I 'HERE is one question all
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Sketch

of a Moor, made by
Ingrain in Morocco

Rex

Trailing the Eastern Stars

(Continued from page 93)

Young Mr. Dix had the opportunity of
being Starred by other companies, but at
the time the offers were made he didn't
believe himself ready for such an honor.

If he can find time from the hectic life
of a star late in the fall, Dick plans a
hunting trip. He is quite mad about hunt-
ing. Whether the "mad" dates back to his
shooting a deer last year in the wilds of
California, we dont know. But the new
star is mighty proud of the deer's head he
brought into his collection of prizes.

Mary) Carr and the Wasted
Regeneration

(Continued from page 63)

the ones who, in centuries to come, will be
recognized as the leaders in thought, and,
to a great extent, the molders of the con-
cepts and opinions of our day.

I can see the students of some future
generation poring over the words of
Havelock Ellis, who, with the World War
flaming across Europe and the detonation
of heavy guns and bursting of shells
sounding in his ears, suggests as a "large
and harmonizing conception, that Man and
the Earth, after their long and agitated
career, surely unique in the cosmos for
fantastic charm, are at length declining to-
gether toward their sorely needed Rest."

And then, suddenly, and no doubt with
shameful lack of respect for the philoso-
pher, I see a slim little gray-haired woman,
with wise blue eyes and quiet hands,
laughing, laughing.

Mrs. Mary Carr. One of the mothers
of the world. Too busy rearing her chil-
dren to write books on philosophy, but
with a breadth of vision which looks down
thru the centuries, and a faith in life
which sees, in the Youth of each genera-
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Flapperism, petting parties, the extrava-
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every generation has known them in some
measure, she says. Let the passing genera-
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forge the links of humanity's chain with
sympathy, comradeship, understanding.

"So much responsibility rests with the
parents," adds Mary Carr. "There is a.
great difference between being just a good
parent, and being an understanding one."

What philosopher knows a wisdom
greater than that?

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Dont Deceive Tour Children

(Continued from page 97)

"Oh, mother !" came from Mary's white
lips.

"Oh, my daughter," came from a terri-
fied Granny, suddenly appearing on the
scene.

"My wife, my wife," murmured a
broken man. "I cant face life without
you. Why did you do it? Come back to
me, Mary, my Mary, come back."

Bobby flew to the telephone and Mary
helped her father carry the limp form to
the bed. Moments of agonized waiting,
eternities of regret and remorse, and the
closed eyes slowly opened. "Thank God,"
Man." heard her father say, and then,
"why did you take poison, Mary, oh, why
did you do such a terrible thing."

Mary the Second looked up at the star-
ing terrified faces around her, dazed, tired.
"It's a mistake," she whispered, "I didn't
take poison — just fainted — didn't take any-
thing — just reached for — aromatic spirits
of ammonia — and fainted — I wont leave
you, Robert — after all "

"Come away, children," said Granny
suddenly, for Robert had buried his face
in his wife's arms to hide repentant tears.
"Life's not all beer and skittles, young
lady," she said to Mary with a return of
her old sharpness, "nor being happy all
the time."

Mary smiled thru her tears and gave
her an ecstatic hug. "Go to bed now,
Granny, everything is all right — every-
thing."

The next remark Mary was heard to
make was over the telephone. "I dont care
if it is five o'clock in the morning, you'll
just have to come." Bobby grinned under-
standingly and disappeared from view.
Mary waited impatiently and when, a few
minutes later she heard the bell ring, she
tore down the steps and collided with a
breathless young man. They tumbled
down on the couch, the couch, and held
each other tremulously in strong young
arms. "Oh, Lynn," said Mary, "so much
has happened, and all of it seemed to prove
that you were the one, somehow "

"You wont make any mistake in taking
me," the boy answered, "because we have
been so intelligent about it."

"I know," said Mary rapturously, with
magnificent disregard for facts, "I know.
Lynn darling, because there has never
been a love as great as ours !"

put,Mi. nAi'L

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Gloria Swanson is on
Joseph Herges-
heimer's preferred
list — he says she is on
her way to becoming
great

Lillian Gish pos-
sesses such an amount
of creative vitality
that she has a lumi-
nosity that can almost
be felt

Abbe

'The Movies Have a Long Way to Go"

{Continued from page 21)

an order to decorate a wall six feet
square, would immediately plan something
eighteen feet square and then chop it up
to fit? He would get a great effect and
doubtless would be hailed as a post-post-
modernist by ladies in
bright green smocks
and men in Windsor
ties, but the poor old
public would sit
around trying to look
wise, but really won-
dering what the devil
it was all about, par-
ticularly if they had
paid to see it.

"And I am not thru
talking about the pro-
duction end yet.
Why, oh why, does it
cling to the Belasco
tradition of stage
sets? And not even
content with that, but
the poor old tradition
must be taken out and
loaded down with all
sorts of excess bag-
gage. I dont doubt
that if one of the ex-
Babylonian kings
wandered thru a
movie set (supposed-
ly depicting the home

of a millionaire) that he would murmur
faintly before passing out in a swoon,
'Who said, "splendors of Babylon"?'

"Now, having got that out of my
system, I will go back to the original
theme : this business of creating movie

Frank Bangs

No swashbuckling, hair-tearing,

head-holding gestures for Richard

Barthelmess

characters. I find that I can only' repeat those who are not."

that simplification should be the watch-
word in settings, in stories and in acting.
I would like to mention three or four more
actors who are doing great work and help-
ing to establish a criterion for acting in the
movies. Tully Mar-
shall is one. He is a
character actor of fine
and sensitive percep-
tion. Ernest Torrence
is another. A fine
actor, and he has
great capabilities.
While Lillian Gish
possesses such an
amount of creative
vitality that she has
a luminosity that can
almost be felt; and I
have recently added
Gloria Swanson to
my preferred list.
She has improved
enormously, and it is
my idea that she is on
her way to becoming
great.

"You can see by
the preceding ideas
that the movies have
a long way to go
(which you probably
realized before I told
you) before they
reach anything like perfection. However,
in time, production mistakes may be recti-
fied, but the problem of the writer for the
movies will always remain — the problem of
composing a story that will be liked by
those who are intellectual and also by

We Offer An Apology

TN the July number of Motion Picture Magazine we printed
* a "Vignette" of the Vitagraph Studio in Hollywood,^ from
which readers might drazv the conclusion that this studio was
fairly inactive. We wish to correct this impression.^ Vitagraph
is action itself. We are informed by the organization that,
during the current year, Vitagraph produced in Hollywood,
besides a number of comedies featuring Larry Semon, ten
special productions, among which zvere Rafael Sabatini's
Captain Blood, directed by David Smith, and The Clean Heart,
by A. S. M. Hutchinson, directed by J. Stuart Blackton.

— The Editors.

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Letters to the Editor

(Continued from page 95)

of disagreeable stunts to try the patience,
and the nerve and the courage of their
victim. You know what college boys are
capable of doing under such conditions.

He came up smiling every time ; he .
never was ruffled, always courteous ; he
never permitted them to discover that he
saw thru their actions, but was just good-
natured and jolly, tho they tested him to
the uttermost, until he was all but ex-
hausted. He never shirked, still kept un-
ruffled and smiling. He won them, one and
all. They could have hugged him ; he had
their unbounded admiration and good-
fellowship; he became one of them.

It had been a strenuous afternoon, and
when they began to make for shore they
begged him to stop rowing, but he in-
sisted upon doing his share of the hard
work, and arrived at the shore with a great
honest sweat pouring from his body.
Every inch a gentleman, and a sport.

I am writing this in a spirit of fair
play, and I know you will be interested in
my little contribution to that end.
Cordially yours,
(Mrs.) William Watkins,
17 West 64th St.— Apt. 19-B,

New York City, N. Y.

Actors, to the Rescue!

Dear Editor: May I write a word or
two about the old films being shown here
at our local theater ?

We see pictures that would be good, but
they seem so old or worn they sometimes
end abruptly, or a great deal is not there.
Many have real good actors, but the worn-
out films cause people to get disgusted
with them.

The last picture I saw of Florence Vidor's
was Alice Adams. What it was all about
no one could tell. It broke off in the most
interesting parts and ended in a blur.

I certainly think these worn-out films
are an injustice to the actors, and every-
one connected with them, and especially
the public that must pay to see them.

IvELT MORCK,

Box 388,

Green River, Wyo.

What is Wrong With Him?

Dear Editor : Yniold, the half-ethereal
boy in that beautiful but dumb dramatic
effusion by Maeterlinck, after a fantastic
speech, exclaims : "I must go tell some-
thing to somebody."

I have just been reading the Motion
Picture Magazine. Altho I bought it
solely for the pictures — I like fine photo-
graphs of lovely women — I did not miss
your suggestion welcoming letters from
your readers and immediately I was seized
with an impulse to "go tell something to
somebody."

But what shall I tell? I am afraid I
do not have — shall I say sympathy? — the
proper sympathy for the moving pictures ;
and should I offer to discuss them, I fear
I should present myself as a heretic and
a non-conformist, for my approval or dis-
approval of a picture rarely matches that
of my friends. There is something wrong
with me.

Recently, following a conference with
the dean of a Mid-Western college, I
suggested to that very erudite and saga-
cious gentleman that we drop into a movie.
"I am not a moron," he replied, "I don
go." Well, I do go ; but I do not seem
(Continued on page 116)

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Critical Paragraphs About New Productions

{Continued from page 85)

parable to her portrayal of Anna Christie.
The situation which develops when she
foists a federal officer on the bootleg king
as her "reg'lar guy" and lives with him in
the bootlegger's home to get the informa-
tion needed to save her brother from the
chair, is just about as daring as well as
dramatic stuff as we've seen on the shadow
stage in a long, long while. The picture
will be talked about because of its unusual
characterizations and its timely plot. In
the cast and performing well are Bessie
Love, Frank Campeau, Warner Baxter
and Matthew Betz.

The Sea Hawk

(~)ne of the best pictures ever made is
The Sea Hawk. It is big and it is in-
timate, it has romance and color, it has
sweep and it has moments that are vitally
thrilling. Rafael Sabatini wrote the novel
from which it is adapted and, therefore,
such things as romance and color and
sweep were to be expected. Frank Lloyd
directed it. Therefore it was expected
that such ingredients as the original work
contained would be transferred to the
screen gracefully.

Mr. Lloyd, with this production and his
previous efforts with Norma Talmadge,
has been heralded by the second guessers
as a great director. He is. And, ten
years ago, we knew it. At that time Mr.
Lloyd, just a "heavy" man with Otis Tur-
ner's Universal company, one day took
charge of affairs as director when Mr.
Turner left the studio for the East. The
difference in the product of the company
was remarkable. And Mr. Lloyd has been
developing ever since. Today, he stands
with Messrs. Niblo, Ingram and Griffith.
The triumvirate is a quartet. Mr. Lloyd
has come into his own, that own which
opportunity has been so long in awarding
him.

The Sea Hawk is a tale of olden days,
when Spain was ruler of the seas, when
galleons, manned by hundreds of panting,
sweating slaves, were the craft of the

waves, when chivalry was determined by
boats locking oars, their men fighting
hand to hand, bow and arrow to bow and
arrow, instead of miles apart and by ex-
plosions of TNT. Yes, The Sea Hawk
revives the days of romance and adven-
ture. That seems a trite observation, but
it is true. Watching it, we are strangely
tempted to forget the commercial present
and to live ourselves with the romantic
past— even tho it often does appear roman-
tic to us because we are so remotely re-
moved from it.

Milton Sills covers himself with glory
in the name part of the production. Wal-
lace Beery duplicates Mr. Sills' endeavor
in the character comedy role. Enid Ben-
nett is a satisfactory heroine and Lloyd
Hughes a sympathetic villain. J. G.
Hawks prepared the scenario and, from all
appearances, prepared it excellently.

The White Moth

Tzola Forrester's story, Maurice Tour-
neur's direction, and First National's
lavish production are all completely dom-
inated herewith by Barbara La Marr,
the most vital and vivid of the screen's
alluring heroines. We cant write much
about the worth of the story, fairly worthy
as it is, nor the skill of M. Tourneur's
direction, complete as it is with the pictur-
esque atmosphere of certain places in Paris
and New York, because Miss La Marr is

there and

Miss La Marr changes the complexion
of things completely. A picture in which
she appears is a Barbara La Marr picture.
Nobody else has a chance. And herein are
such loved heroes as Conway Tearle, Ben
Lyon and Charles de Roche. But all three
together count for little beside the lady
who we've mentioned a bit already. Here
she is a dancer on the Parisian stage, and
she dances well and looks most Parisian,
and if you know what Parisian means you
know what we mean — and what Miss La
Marr's performance means.

(Continued on page 112)

Sylvia Breamer's pet hobby is a beach radio

106

THE PRIMROSE PATH
PROVES PERILOUS

A FEW short days after she resolved to be truly wicked, and had
begun by leaving her rather unpleasant home, Hope Brown,
pathetic in her pitiful attempts to "go astray," found herself in
Hollywood. Moreover, she had discovered a young man, rich
and idle, who was a good "prospect" — or so she thought.

But there are guardian angels for innocent little girls like Hope.
In her case the angel was handsome, and wealthy, and didn't seem
like a guardian at all. And he was surrounded with most unangelic
companions who were engaged in most unholy revelry.

Hope drank champagne, smoked a cigaret, and felt thrillingly
wicked. Altogether, life looked pretty cheerful to her. Until
Stanton Braithwaite felt called upon to interfere, thereby antag-
onizing Isabel, the woman who considered him her own particular
property. . . . It's all very interesting and absorbing, and you'll
like the

Fourth Instalment of

THE GIRL WHO COULDN'T BE BAD

By Henry Albert Phillips

Mae Murray's
Autobiography

N this absorbing story she
tells Motion Picture
Magazine readers of her
early struggles for a career.
Not parental opposition, not
convent walls, not lack of
money — nothing daunted Mae,
the first deserter from the
Follies to the screen.

LewCodyV'Girls"

QLADYS HALL reveals the
real loves of this gentle-
manly villain. And she tells
what kinds of women he likes,
as well as the kinds that adore
him.

When They

Are Off
The Screen

THE stars are differ-
ent, says Harry Carr.
And he tells you how
they are different,
and how they act
when they think he is
interviewing them,
and what they do
when they are not
on parade.

W" Photograph by
Kenneth Alexander

MORE CHARACTER READINGS

F. VANCE DE REVERE continues her fascinating character
readings. Four more screen stars are analyzed for you. There are
no secrets left when Mme. de Revere takes a look at your face, and
feels your head.

October Motion Picture Magazine

On the News-stands September First

""" 107

PAfi

MVJOTION PICTURp
Bl I MAGAZINE L

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'108

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Inventors — Write for our free illustrated guide-
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Max, one of the famous trio of mon-
key comedians of the Fox company,
does a hornpipe on a ship's capstan

On the Camera Coast

(Continued from page 78)

it finds no evidence of cruelty to screen
animals, and this report is indorsed by
officers of the S. P. C. A,

PJaving galloped thru Merton of the
Movies in record time, Glenn Hunter
has gone back to spend the summer in his
cabin in the Catskills. Some time next
fall he is to star in a picture to be made
by First National from Mary Roberts
Rinehart's The Altar on the Hill.

T)addy Paley, one of the very first of
motion picture cameramen, is dead at
the age of sixty-seven. He has been a
cameraman since 1892, and made the first
news reel ever shown — the charge of the
Rough Riders at San Juan Hill in Cuba
in 1893. Recently he was in an accident
in which both legs were lost: he never
fully recovered.

J.ack Dempsey, the champion of the
world, who has been making a series
of two-reel fight dramas at Universal,
says the chief difficulty about being an
actor is to make your nose stay on. Like
most fighters, Jack has a broken-in face.
He builds it up with putty before each
scene but, to his huge disgust, somebody
usually knocks it off.

\7irginia Lee Corbin, one of the babies
of the screen, has grown up and is to

be seen as a regular full-size actress in

The Cafe of the Fallen Angels.
Nazimova is coming back to the screen

to play the lead in Edwin Carewe's

Madonna of the Streets, with Milton

Sills.
Monte Blue has been selected to play

Dcburau, when it is made at Warner

Brothers' studio. It is to be called The

Lover of Camille.

A GREA T many letters have reached
us praising the cover of our July
number, and asking -where this un-
usual study of Norma Talmadgc xvas
made. We hereivith inform our
readers that the painting by Albert
Vargas ivas made from a photograph
by Lucas-Kanarian

\G€.

wrap

Adventures Off- Scene

(Continued from page 99)

had already lost a ten-round "go" with her
several years ago on a question of Car-
melita's entering pictures. Tom said "nay."
Carmelita said "yea." I laid my bet on
Carmelita. Papa Tom threw up the
sponge in the tenth round — and the screen
has now a baby star that is rapidly climb-
ing the heavens of popularity to the zenith.
Fight and Win is a prophetic title for
Carmelita. It is her slogan in all she
undertakes. Youth, beauty, courage are
the Conquerors. There is no Rubicon,
Alps or Delaware that they cannot cross.
And Carmelita has them all.

The Madman of the Screen

T)o you remember the Magician to the
Emperor in The Thief of Bagdad?
That is Sadakichi Hartman — half Jap,
half Austrian. He has a face that scares.
He dances the weirdest dances in the
studio, while waiting for the director to
call him. Then thej r can never find him.
Scouting parties go in search of him. He
is sometimes found lying out on the tin roof
in costume, praying to the sun. He is
painter, poet, playwright and actor by
turns — and nothing long. Out in Holly-
wood they call him "the madman of the
studios."

The Spectrum Films

V/Tr. Claude Friese-Greene gave a
showing recently at Wurlitzer Hall
of his new color film process. It was the
first time this work has been shown in
America. An interesting program had
been arranged, consisting of The Dance of
the Moods, A Quest of Color, a pic-
turesque travelog, and some scenes from
Shakespeare's Stratf ord-on-Avon. I
thought them among the best color pic-
tures that I had seen because of their
subdued tones. They were never blatant —
which is the fault of other processes.
These films can be colored and shown on
the same day the picture is taken. They
are owned by the Spectrum Films,
Limited, of London.

he truth about
the movies—

Do you know HOW the Stars, Directors, Writers and
Producers of Motion Picture Fame have ACHIEVED
SUCCESS? Do you know whether you are suitable for
pictures? What knowledge is essential? What talent?
What type of personality? What physical assets? Do you
know what is meant by photographic values? How to
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future possibilities and how to make the most of them?
The things you would like to know — that every screen
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109
PAG

f AMOTION PICTURp
SI I MAGAZINE i-
Have You
The Urge to Write?

TF THERE is something inside of you
•*■ which demands the right to express it-
self, something which commands you to
sit down — perhaps, at odd moments, when-
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try to put on paper the remarkable
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themselves in your mind, then you have
the urge to write.

But mere desire to work in wood and
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mere desire to cure would not make you
a doctor. Inclination must be supported
by training in order to make one proficient
in any pursuit.

Then This is For You

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Behind the Screen "with Two Greenh

orns

{Continued from page 84)

but I never believed it. Even when they
are rehearsing, before the director calls
"Camera!" the musicians — two violinists
and a pianist — play some appropriate
melody, either lively or dreamy, to put the
actors in fitting mood.

"Pretty cold acting without it," ex-
plained our knowing guide. "Like telling
funny stories at a wake."

So, during the wedding scene, they
played Schubert's well-known Serenade,
such as is always played back home while
the guests are waiting at the church for
Lohengrin's March to start.

As we passed to the Valentino and Nita
Naldi set, the musicians were playing there,
also, but a lively tune, since the heavy love
scene, they told us, had not yet started.

Rudy, the Incomparable

A s we came in, Rudolph, the immortal,
had just stepped out of the picture to
powder the face that is his fortune. He was
scrutinizing himself closely in the mirror
and dusting his flawless features with
bright yellow powder, that being the color
which shows up best on the screen. He
wore a riding habit of faultless tailoring
and carried gloves and riding-crop with
the proper nonchalance. Taken all in all,
he looked quite as much of a Sheik in
person as on the screen, and fulfilled all
our expectations. But he was younger
than we had pictured him ; in fact, he
seems just a boy.

This set gave the same atmosphere of
picturesque confusion as did the other one,
with even less action in progress. Here,
too, there seemed to be a wedding in the
offing (where is there not in the movies?).
The delay, we were told, was caused by
the search for a loving-cup of the proper
period in which to drink the bride's health —
that is, not a mustache-cup or a golf
trophy, but one which would suggest the
palmy days of Spain.

"Nothing doing here," said our guide.
"Want to see the rest of the studio?"

The room he took us into now was filled
with nothing but doors — hundreds and
thousands of them, placed like letters in

an upright filing case. Each one had a
number and was labeled Colonial, Vic-
torian, Directoire, Spanish, etc., etc.

"These help us to construct our sets," he
said ; "the proper one for any country or
any period. And here's the rain-and-storm
room."

The ceiling of this room was lined with
perforated pipes, and the floor was of
cement with many drains. While craning
my neck in order to miss nothing, I
bumped into a large iron machine which
looked like a gigantic electric fan.

"Our wind machine," he explained. "It's
surprising the storms we can conjure up
in this room. Over there is the tank for
shipwrecks, diving, and the like."

Out another door, and here we were in
a Spanish court surrounded by a low stone
wall, just the height for Rudolph to leap,
with artificial vines growing all over it.
It was built for the outdoor scenes of The
Sainted Devil. A donkey, tethered to a
post, began braying when he saw us — not
fiercely, just in a spirit of friendliness.

Shoved in one corner was a beautiful,
pink French coach, with medallions on the
door, the kind the Louis's rode in in their
halcyon days.

"Made from an old taxicab," said the
young man. "Used in Monsieur Beaucaire.
Not for this picture."

Everywhere we looked, everywhere we
went, were workmen — carpenters, plas-
terers, plumbers — the hundreds of people
it takes, in addition to the actors, to make
a picture !

And as for the actors, the stars them-
selves, they stand around in costume for
hours, and work only ten minutes, maybe.
Loaf all day, work like a dog far into the
night ; drenching wet for hours ; risking
lives in fire or daring ride. That's the
movies !

"Think j - ou want to go into the movies ?"
I asked Hokey, as we stepped out into the
sunlight and the familiar world again,
grown almost unfamiliar in our absence
from it.

"Tell you later," said Hokey, lovingly
fingering the sketches she had made.

Gilliams Service

These three mermaids of the movies are Marie Mosquini, Blanche
Mehaffy, and Ena Gregory

110

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Tke Answer Man

(Continued from page 76)

. Helene C. — You're like me, I appreciate
little gifts more than great ones, for the
will, not the gift, makes the good giver.
John Bowers is being separated right now,
and he is six feet tall. Glenn Hunter has
dark-brown hair. Barbara La Marr is
married to Jack Daugherty. Yes, he played
in Haunted. Helene Chadwick has light
hair and brown eyes. Edith Johnson is
married to William Duncan. I know, but
years count for nothing ; a person is as old
as he feels. I'm able to look about, and that
will keep you young in New York.

Tom. — Yes, the Classic Answer Man
and I are one and the same. We like each
other tho, and get along quite well to-
gether. Leatrice Joy is married to Jack
Gilbert. Jacqueline Logan was born in
1902 and is five feet four, weighs 120
pounds. Leatrice Joy was born in 1899
and she is five feet three, weighs 125.
Jacqueline has auburn hair and grey eyes.
Ronald Colman has just been signed to
play in the next Constance Talmadge film.

Novarro-Swanson Fan. — That's quite
a combination. Gladden James did play in
The Heart of Wetona some years ago.
Gloria Swanson is American and was born
in Chicago. Shirley Mason is with Fox
right now. Ramon Novarro's first was
Man, Woman and Marriage.

Ingram Admirer. — Somebody once said
'When you are in love you should forget
what you would otherwise remember, and
remember what you would otherwise
forget." Just write to Metro for a pic-
ture of Rex Ingram, and that is his right
name.

Helen M. K. — Huntley Gordon is mar-
ried, and he is with Universal right now.
Mahlon Hamilton is married. William
Faversham, Kathleen Martyn, Charlotte
Walker and Neil Hamilton in The Sixth
Commandment, for release thru Associ-
ated Exhibitors.

Winnie. — Rod La Rocque was born in
Chicago and he is playing in Feet of
Clay. You say you feel sorry for me.
A bachelor is unfortunate, he has no
home to stay away from.

Hildreth H.— So you want Roscoe
Arbuckle back agaifii and you say you dont
think his comediel £ould hurt anybody. I
agree with. you. Dorothy Mackaill and
John Harron in What Shall I Do?
Charles Ray's first under his new Ince
contract will be released as Dynamite
Smith. Jacqueline Logan and Bessie Love
in the cast.

Rosemary. — Gaston Glass and Mary
Thurman are playing in Trouping With
Ellen. Bessie Love, Lewis Stone, Wallace
(Continued from page US)

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The departure of the coach — a scene from Janice Meredith

Critical Paragraphs About ISJew Productions

(Continued from page 106)

The Good Bad Boy

Tt is seldom that producers err on the side
of childhood studies. We cannot remem-
ber when a kid picture failed to impress
the spectator because the juvenile incident
is lifelike enough to carry rich appeal.
The author of this one is not credited, but
the director, Eddie Kline, surely is in sym-
pathy with youth. He has compiled a
rich assortment of scenes — all of which
are well balanced with humor and pathos —
and he gives us a most enjoyable hour.
The story is human, the characters seem
genuine — and the action is perfectly intel-
ligible to anyone — even a child.

In presenting a youngster with a bad
reputation, there is a certainty that he will
win sympathetic appreciation right at the
start. With his struggling parents com-
posing a background — to say nothing of a
bunch of dogs, and the inevitable little girl
playmate, one can understand that the
story has something of that homey, homely
quality about it. Of course, the plot is a
skeleton to hang the various episodes
upon — but still it carries enough substance
so that the piece doesn't look sketchy.

The story is built around this boy living
down his mischievous reputation and sav-
ing his "old soak" father's invention.
There is a novel comedy scene when the
youngster's dog summons his clan — or
rather his barking rotarians — and pursues
a police dog that had played the bully too
long. The picture is finely played by Joe
Butterworth, Mary Jane Irving, Forrest
Robinson — and others.

The Dangerous Blonde

Tt's a good farcical idea projected here —
one featuring a henpecked husband who
gets mixed up in a scandal over some fool-
ish letters he sent to an adventuress. This
erring husband is also the father of a
vivacious girl, and when he gets in "deep
water" he looks toward her for aid in
helping him out of his difficulty. One can
easily guess that the girl will resort to
playing the same sort of game as the ad-

venturess. It is slender in design, but en-
tirely substantial enough to support the
strings which tie the plot together.

Of course, like all farce-comedies, any
explanation would puncture the story and
spell ruin. We are introduced to a boorish
college youth who dances attention upon
the girl. He misjudges her actions — and
naturally makes himself a perfect dunce.
He proceeds to use his manly fists in set-
ting things right. And we will argue that
up-and-at-'em action doesn't belong in farce-
comedy. The piece stretches credulity in
several places, but it amuses after a
fashion. Laura La Plante makes a per-
sonable heroine— and Arthur Hoyt, playing
the erring husband and father, scores with
a deft performance.

The Trouble SKooter

TTom Mix's latest is a remarkable adven-
ture yarn — one rich in the exploitation
of hazardous stunts — and yet perfectly
coherent in plot. It gives the star one of
those he-man characters who is forced to
overcome tremendous obstacles before he
can win the girl. The idea isn't new — but
who cares so long as there is a rapid flow
of action scenes? The actual thread of
the story is based upon conflict between
rival factions desirous of gaining control
of a valuable strip of land — and the only
novelty of characterization arises from
Mix's role — that of a lineman whose job
is to repair damages to wires and poles.

We will catalog the plot, theme and
characters as old stuff. But regardless of
its obviousness, the picture starts with a
bang and maintains its pace — sending forth
on the way a full quota of thrills. Mix
has been putting over several stunts for
several seasons. He dishes up some new
ones here. He dashes on his spirited
horse across a yawning chasm, pursued by'
an express train. Another time he and the
horse have a narrow escape from drown-
ing while stemming the current of a turbu-
lent stream. And to furnish a real nov-
elty, Mix puts his horse on snow-shoes
and mushes thru the white spaces. A real

Western, this — one symbolizing perfectly
the wide, open places. It is competently
played.

The Gaiety Girl

This romantic drama of modern English
social life showing the sacrifice made
by a daughter of the proud Tudor family
to bring happiness to her grandfather has
enough good qualities to make it a satisfy-
ing film with nine patrons of ten. The
locale is rural England — with a few shots
of London and South Africa. The action
opens in an ancient castle owned in the
heroine's family for nine hundred years.
The present baron, burdened with debt, is
forced to give up the ancestral home, and
there are some deeply human moments
when he and the girl start off for London
— accompanied by the faithful retainer. At
this point the picture presents interesting
life back stage — showing among other
scenes the Gaiety company rehearsing, as
well as the show itself — with Mary
Philbin, in the title-role, the center of
attraction.

There is a bit of triangle building up to
the climax, and it is satisfactorily de-
veloped. The picture is neatly mounted,
carries several scenes of fine suspense —
and, at all times, stays in the character of
its atmosphere. As a production, it is
technically perfect.

The Masked Dancer

'They've tacked an alluring title on this
opus, and collected a cast of seasoned
troupers, but the story is not so good, de-
pendent as it is upon a single situation.
The spectator will discover a twist in the
eternal triangle theme, but because it fails
to get down to the rock-bottom of emo-
tional conflict his interest will be attracted
principally to the interpretation and the
mechanics of production. It presents a
husband whose affections have cooled
toward his spouse. Which prompts her
to win back his love by assuming a differ-
ent personality. Therefore she becomes a
masked dancer in a cabaret— and one of
her most ardent suitors is her husband.

This is a premise difficult to accept if
one is searching for realities. It is
hardly reasonable to believe that a husband
can be fooled when he has lived in an in-
timate relationship with his mate. The
inflection of voice and certain unconscious
mannerisms would preclude such a possi-
bility. Let it be said that the husband wins
out in the love-stakes. And the wife has
her say when she upbraids him for falling
in love with her masquerading self.

It is a sophisticated character, which
indicates that it should have been embroid-
ered with comedy. None of the players
have any acting opportunities, tho Helene
Chadwick, Lowell Sherman and Leslie
Austin meet the demands of their roles.
There being little plot, the director is
forced to use much repetitious action and
detail.

The Reckless Age

The Reckless Age and its star, Reginald
Denny, come nearer filling the long-felt
void left by the death of Wallace Reid and
the cessation of his series of pictures than
anything else that has been placed on the
amusement market. In the freshness of
plot, the swing and lilt of the action, the
appealing personality of the star, the de-
lightful thread of romance in which Mr.
Denny is so ably supported by Ruth
Dwyer, .and in the spirited treatment ac-
corded the production by Harry Pollard,
the director, The Reckless Age sets a pace

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{Print Plainly)'

for modern comedy-drama production that
is simply infectious.

The story tells of an English Lord who
takes out an insurance policy against his
failure to marry an American heiress.
The insurance company puts one of its
agents on the trail of the lord, palpably to
see that the course of love runs smooth.
But of course the agent complicates mat-
ters by falling in love with the heiress
himself. Here is a comedy situation
which the author, Earl Derr Biggers, has
developed to its fullest possible extent.
Universal has had lots of fine words
handed it for producing spectacular pro-
ductions. Just as fine words should be
awarded the company for dealing out such
a delightful comedy as The Reckless Aye.

The Spirit of the U. S. A.

A LX the old-time hokum stuff is displayed
here in pyrotechnic fashion. The
sponsors have attempted to make another
"Over the Hill" — but have fallen far short
of it. They have attempted also to cash
in on the situations which have made Way
Down East and all the other rural favor-
ites so successful. And they've tacked on
a title to catch the box-office shekels — a
title which is not applicable in so far as
establishing the theme is concerned. It
is packed with all the sure-fire stuff-
love, romance, pathos, patriotism, senti-
ment and what not — all of which are bal-
anced against each other to project a story
founded upon the adventures of a youth-
ful tiller of the soil — whose spirit of self-
sacrifice inspires him to join the colors
and return in time to eject the scoundrels
from the home they had stolen from his
aged parents.

The early reels are the best — because
they contain some lifelike detail — and the
homespun atmosphere of life in the rural
places. There are many gross errors. For
instance, the hero has a dog when he is a
wee youngster. Eighteen years later, when
he goes to enlist, this dog is still about,
jumping and running with .no suggestion
that the passing years have been unkind to
him.

The director of this picture hands a bou-
quet to the Salvation Army. ■ The hero,
rejected by the draft board, is accepted by
the S. A. It is melodramatic in its con-
( Continued on page 120)

114
Ge.

Huntly Gordon and Elaine Hammerstein,
the hero and heroine of Driftwood

When Grandma
Was a Girl
— and Now!

The Modern Woman

Needs More Money

— and Gets It!

The modern woman needs more
money than her grandmother did.
The demands of her every-day life are
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Extra Money for
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How much more interesting and en-
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and variety into its prosaic routine,
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Yes, of course, whims are apt to cost
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we stand ready to pay you liberally
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The Answer Man

(Continued from page 111)

Beery and Lloyd Hughes have the leads
in The Lost World from the Conan
Doyle story. Irene Rich is with Warner.
Wesley Barry, Warner, also. No, not
a bit. '

E. J. P. — Yes, and you may be excused
from being blue, but never for being green.
Harrison Ford is with Cosmopolitan Pro-
ductions at 2478 Second Avenue, New
York City.

Madge P. — That's right. Write to me
any time. I like to receive letters. Tdl
me what you like and what you dont like.
You know we have a new editor with this
number. Glenn Hunter is not engaged
now. Mighty interesting letter you wrote.

Kitty C. — I dont know why you think
everybody sends their letters to Mr. Hopf-
muller — he is our artist and a mighty
busy one. Warren Kerrigan is not
married, and he has black hair and hazel
eyes. Write me any time.

Jay, Philadelphia. — Arthur Rankin is
playing in Purchased Youth.

The Gumps. — Men sometimes think
they hate flattery; but they hate only the
manner of it. And that's right. They are
the only kind of stars to play with. Betty
Compson will probably be married to
James Cruze, in October.

Elbert B. — Colleen Moore is five feet
three, twenty-two years old, and her real
name is Katherine Morrison. Address her
at First National, 5341 Melrose Avenue,
Los Angeles, California. Gloria Swan-
son's next, which is from the Mary
Roberts Rinehart story, Her Majesty
the Queen, and which was made under the
working title of The Woman of Fire,
will be released as Her Love Story.

Marjorie. — Gloria Swanson is twenty-
seven, five feet three and weighs 112
pounds. She has brown hair and blue-
grey eyes. Her daughter is three.

Peggy.— Pola Negri is not married and
she is twenty-seven. Carmel Myers is
abroad right now. Well, to be great, we
must know how to push our fortune to the
utmost.

Twin. — Mae Murray was born May 9th,
1886, and christened Marie Koenig. De-
rived the name of Murray from dancing
in a restaurant of the same name. Has
been married three times, to William
Schwenken, J. Jay O'Brien and now to
Robert Z. Leonard. Virginia Valli was
Margaret Deland in The Confidence Man.
(Continued on page 118)

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116

Here is an interesting
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Letters to trie Editor

(Continued from page 105)

to react properly; so, as I have suggested,
something's wrong. Perhaps I am not even
a good moron. That being the case, you
wont publish this letter; for, while it may-
be true that the moving pictures cater to
morons, I am not so sure that they cherish
us sub-morons. Your moving picture
magazine, then, would have little recogni-
tion for one whose enthusiasm (obviously
because of his intellectual depravity) for
the movies is not nearly so rife as villainy,
for instance, in a Universal picture. So,
while I am greatly interested in the cinema,
I shall spare your time and my own feeble
mental energies. I shall not try to tell
you that to me The Hunchback of Notre
Dame was a dull, depressing picture, in
every point more grotesque than artistic,
and that whoever told Norman Kerry he
could act spoiled a good cigar-store Indian.
I shall stop before I tell you that if I had
directed that tiresome Woman of Paris,
you, even, might never have heard of it.
And lest I should add that Lillian Gish
and Sir James Barrie are my favorites.
Yours, rather truly,

William Morrell.
Pittsburgh, Penn.

Criticizing the Critics

Dear Editor: I have been reading your
magazine with great interest for quite a
number of years, and each issue seems
more enjoyable than the last. How you
manage to make it so is a puzzle, but a
fact, nevertheless.

I have often been tempted to write the
"Answer Man," but never did. To digress
a little, I firmly believe that "he" is a
woman. No mere man could stand up
under the strain of some of those idiotic
questions, and only a woman's ingenuity
and mendacity could think of the "eighty
years old" and "long beard" fabrications.
Also, any reference to age brings fire, and
some of the answers are quite catty! So
there! That's off my chest! Page Sher-
lock Holmes !

To get back to what I started to write
you about : I have often wondered why
so many fans write criticisms of screen
actors as if the characters portrayed were
the actors themselves.

They will flatly say they dont like Doug
Fairbanks or Gloria Swanson, as if they
had personally met those artists, when
they really mean that they dont like their
work. In the old 10-20-30 melodramas,
where the audience hissed the villain and
applauded the hero, lots of people believed
the villain was a rotten guy and the hero
a model man, when it was often the re-
verse. I really think that lots of movie
fans think the same thing of the screen
artists whom they criticize.

I read where one woman said she never

wanted to see Pola Negri again, and
Charles de Roche could not take Valen-
tino's place, etc., when she had only seen
these artists in one picture. In that pic-
ture De Roche did not even have to comb
his hair, and Pola Negri's part called for
cigarets. De Roche, I imagine, could
make up to look like Beau Brummel if the
part called for it, and in The Spanish
Dancer I dont remember Pola Negri smok-
ing a single cigaret. Both of those
people are clever artists in my estimation,
and merely portray the characters for
which they are cast. Some of the fans
seem to lose sight of the fact that screen
actors are merely human beings, after all,
and drop the personality of the character
they are portraying as soon as they are
out of range of the camera.

It is much more accurate to say you
did not like "So and So's" work in "such
and such" a picture, if you have not per-
sonally met the artist whom you criticize.
I enjoyed E. M. Smith's letter so much,
and I sincerely hope that Mack Sennett
will give us the Three Weak suggested.
I did not see the picture, but I read the
book, and like the man with the smallpox,
"I got over it, but I never looked the
same." When I heard that Elinor Glyn
had chosen Conrad Nagel for the Perfect
Lover, I saw the "rift in the lute." If they
were available for her production, I dont
see how she overlooked Schildkraut, No-
varro, Valentino and Ricardo Cortez.
(As to looks, anyway.) I am not saying
that I dont like Conrad Nagel's work. I
love every move he makes, but not in a
part like that. I have only seen Cortez
in one picture, Society Scandal, and all he
did in that was grin and look handsome.
I imagine he could have grinned his way
thru Three Weeks and filled the bill nicely.
The back of Valentino's neck films beauti-
fully and I imagine that on the couch of
roses that could have been featured to
great advantage.

But I have taken up too much of your
valuable time, so I will end this outburst.
In conclusion I will say that here is one
movie imbecile who is rooting for Motion
Picture Magazine strong. As the Per-
fect Liar remarked to his best girl : "It
brings a ray of sunshine into what would
be an otherwise colorless existence."
Sincerely yours,
Annie St. Claire,
Box 226,
Lake George, N. Y,

Wanted: A Talking Film

Dear Editor: The vital necessity for
"original" screen stories has long been in
evidence, but it was not until I witnessed

(Continued on page 119)

D ,,-,OTION PICTUR

.01 I MAGAZINE

Do Beautiful Pictures Intrigue You?

i A study of Ula Sharon by Strauss Peyton

Dorothy Donnell, author of "Fortunate Mis-
fortunes," and of "Out, Damned Spot," will
contribute an article to each ensuing issue
of Classic. Jim Tully, who wrote "The Man
You Love to Hate" and other stories, will
contribute monthly, also. These two writers
have drawn countless letters of approbation
from our readers.

LOOK ABOUT YOU AND YOU will find
that pictures, day by day, are
shoving the printed word into the back-
ground — that you are being ensnared,
captured by pictorial representation at
every turn. There's a reason — impres-
sions made thru the sense of vision are
more rapid, more lasting, more gener-
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stood, than those gotten thru any of the
other senses. This is why children are
taught first pictorially, and why they
give back their impressions in line draw-
ings often crude and grotesque. It is the
natural expression — it comes down to
us from the caveman age.

BUT PICTURES TO CAPTIVATE in the
present day must be artistic, dra-
matic. They must not only tell a story,
they must please. Do you know that
Classic Magazine carries numberless
pictures that are an accomplishment in
themselves — unique, beautiful, inspir-
ing, characteristic — pictures of the stage
and screen, foreign and American; pic-
tures of scenic beauty the world over
where screen work has been done ; pic-
tures of exquisite homes of the elite,
interior and exterior views; photo-
graphic studies of celebrities in intimate
and exclusive poses. Furthermore, do
you know that Classic is the only
magazine of the screen that is printed
entirely in the soft, beautiful tones of
rotogravure ?

Kenneth Macgowan, distinguished among the
dramatic critics of Broadway, will review
the stage plays of each month in an illus-
trated article. Laurence Reid, inveterate
movie goer and reviewer, will give his opin-
ion, which has come to be an authority, on
the screen plays of the month, illustrated
with film stills.

Pictorial of Stage and Screen
Special Introductory Offer— 5 Months for $1.00

Because we want you to know Classic for the artistic, entertaining and instructive magazine
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118

Vaudeville and tke Screen

By WALTER HAVILAND

GILBERT SELDES has written a
book called The Seven Lively
Arts, which I find distinctly lively,
in spite of the rather pontifical manner
in which he places his hands, so to
speak, on the heads of the popular amuse-
ments and says, "Bless You, My Chil-
dren !" He includes motion pictures and
vaudeville among the seven. Naturally —
seeing that both are unescapably American
and of our day.

But, did you ever stop to think that
there is practically no interchange between
the two? Screen favorites and the stars
of the legitimate stage are constantly in-
vading one another's territory. Let a
sweet young blonde make a hit in a Broad-
way show, and the next thing you hear
of her capering before the camera at
Hollywood. Marie Prevost and Theda
Bara retort by playing "in person."
Vaudeville people, on the other hand,
rarely furnish recruits for the silent
drama, and the two-a-day has no lure for
Theda and Marie.

Why is it so?

I hazard the opinion that vaudeville is
simply not a training ground for the
qualities that make for success in a mo-
tion picture actor. It is a highly individual
medium, in which contact with the audi-
ence is held by raillery, topical references,
business generally that the ear registers
rather than the eye. Pantomime does not
ordinarily succeed on the variety stage,
tho Nina Payne and a few others have
done well with it. In the one-act plays of
vaudeville, there is little acting and much
travesty. The results would be pretty sad
if the performers could not intoxicate
themselves with wise cracks and burst into
song without waiting for the slightest
dramatic excuse.

Contrariwise, the experience acquired on

the motion picture lot is altogether along
the lines of visual drama — drama, too, that
can make its appeal at long range ;.nd that
is not concerned with the temperamental
whims of the audience before which it is
enacted on a given date. The movie
heroine adapts herself to the requirements
of the legitimate, because in the latter, as
in pictures, "the play's the thing." She
would have a harder time facing a vaude-
ville crowd, which would expect her
to spill the newest slang in the very
accents of the neighborhood, and would
be largely indifferent to her fine histrionic
fervors.

The other day, I asked Ruth Roye, the
vaudeville headliner, whether she expected
to go in for musical comedy. She shrugged
her shoulders and opined that a good offer
might tempt her, tho she preferred the
two-a-day. I then wanted to know
whether she had ever given a thought to
the movies. She stared at me as if I had
gone mad, and chirped : "You're kidding
me ! I wouldn't know how to act before
a camera."

More than one cinema player has men-
tioned variety to me in terms that proved
they regarded it as a profession followed
only by low-brow oddities. These con-
trasting views serve to make my point.

There have been exceptions, of course.
Most notable of all, Charlie Chaplin was
working in a variety sketch when Mack
Sennett first hired him for the movies.
But Charlie was thoroly out of his element
in vaudeville and probably would have
found it a long, hard road to success. The
change in medium quickly revealed his
superlative genius. Mrs. Sidney Drew
made her reputation while playing with
her late husband over the Keith and
Orpheum circuits. Ray Griffith graduated
from the same calling.

Tke Answer Man

(Continued from page 115)

A Novarro Fan. — Ramon Novarro is
twenty-three, and not married. Alice
Terry in Metro's The Red Lily.

B. C. G. — Single misfortunes never come
alone, and the greatest of all misfortunes
is generally followed by a much greater
one. Yes, I like Lila Lee. Robert Ellis
is at Garden Court Apartments, Los
Angeles, California. Well, I will let you
know when I bob my beard. That will
be some time yet.

Juanita. — All philosophers are simple,
but to be affectedly simple is simply to be

a fool, for fools also are simple. Rod La
Rocque is not married. Monte Blue says
he is not married, and he is thirty-four.
Address him at Warner Brothers.

C. B. S. — You want to know if Claire
Windsor and Bert Lytell are engaged.
That's a hard one. Alice Terry has dark-
red hair. No, Nita Naldi is not married.
Aileen Pringle is not married. Shirley
Mason, William Collier, Jr., and Jackie
Saunders in The Phantom Jury. Guess
that will be about all. Good night!
(Continued on page 121)

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Letters to the Editor

{Continued from page 116)

The Meanest Man in the World that I
came fully to understand. This picture,
while adequately produced and quite inter-
esting, held little for me. Perhaps this
was due to my lack of broadmindness to
refrain from comparing it with the highly
successful stage version, for which it was
only intended.

The stage play, as portrayed by George
M. Cohan, was a delight ; something
ever to be remembered. It had sparkle in
abundance and the inimitable Cohan
"strut" will always live in the memory of
those fortunates who saw it. But the
motion picture — I say this with regrets,
because Bert Lytell is and always has been
one of my favorites — was mediocre, com-
paratively.

Why? Just because this play, like
many others, needed the assistance of the
human voice. I compare the performances
of these actors for but one purpose : to
show that the legitimate actor had every-
thing his way, while the exponent of the
cinema was working under a huge handi-
cap.

When Mr. Cohan undertook the lead-
ing role, he had new, direct material with
which to work ; but the part handed Mr.
Lytell was altered and mutilated, unsuited
to the purpose. Just such an example as
this leads people to believe that the stage
is the superior art, and under the circum-
stances it is hardly deniable.

When producers cast a player to portray
a role that is secondary, and expect that
player to duplicate the performance of
the original artist, after it has been altered
to fit screen requirements, their intelli-
gence is questionable. They do not seem
to realize that they are not only ruining
their players, but cheapening the art as
well.

How can the cinema progress under
such conditions? This, maybe the pro-
ducers can answer, but it is the conception
of the writer that under these conditions
the silversheet can but only travel in the
narrow path set by its pioneers.
Sincerely yours,
LavernE Caron,
19181 Danbury Ave.,
Detroit, Mich.

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Critical Paragraphs About
New Productions

(Continued from page 114)

eluding scenes — and much that was meant
for pathos becomes bathos thru being over-
stressed. There will be an audience for
it— because it is done sincerely— if without
much artistry. The war is fought all over
again. Johnnie Walker, Mary Carr and a
host of others are present trying their best
to make it real. Occasionally they suc-
ceed.

No Mother to Guide Her

A :nd so the screen goes back again to the
ancient stage play for expression — and
the results in this case are just fair. While
the ingredients are the same, the picture
has been polished up a bit to give it a mod-
ern setting. In respect to its atmosphere
and backgrounds, it is far superior to the
stage version. It pretends to establish a
moral, but its conveniences are too firmly
planted, too palpably there for a purpose to
make it convincing.

The story revolves around the pleasure-
seeking daughter of wealthy parents who
contracts a marriage with a young scala-
wag. And so the title has its meaning in
the subsequent experiences entertained by
the girl. There is no lively action intro-
duced until the early reels are unwound.
Then we are treated to some scenes a la
jazz — which for purposes of contrast are
balanced with several establishing figures
in more humble circles of life. The story
builds up its fake marriage — and the happy
ending arrives when the ceremony turns
out to be genuine. There is a note of self-
sacrifice in it when the girl's chum assumes
her burdens. We will catalog it as trite
and out of date. The cast is adequate
without showing any emotional talent.

Broadway or

Bust

TT-Hfi law of averages comes - flirting with
•Hoot Gibson in his newest essay. Hav-
ing enjoyed a run of humorous burlesques,
the present opus must be defined as "not
so good." It offers a time-worn idea — that
of the cowboy becoming suddenly wealthy
and pursuing his haughty sweetheart to
New York — tho his real object is to have
a good time. But in striving to give the
spectators some breezy comedy, the direc-
tor missed in not making more out of the
incident featuring the horses parked in a
hotel bedroom. Imagine the opportunity
for novel hokum with the steeds riding in
the elevator and prancing thru the halls !

One must not take it too seriously, how-
ever. Such a scene as a pompous magnate
handing big bunches of banknotes to the
cowboy in buying his farm because of its
radium deposits precludes any desire to
take it in any other way except humor-
ously. The two outstanding points are
when the hotel manager allows the cow-
hands to bring in their ponies — and when
the hero "upstages" his sweetheart. He
has met her thru her friend, a Long Island
society woman— who had sought out the
cowpunchers because of the publicity given
them. Hoot and his friend are all "dolled
up" in the jazz model clothes of the "walk-
up-stairs-and-save-ten" variety — and they
play the boobs to perfection. As an indi-
cation that the director missed also with
his atmosphere, we will tell you that he
introduces the mountains of Long Island.
You can do better, Hoot, than this. We
can only give you an average mark this
time.

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~~I3

The Answer Man

{Continued from page 118)

Anita U. — All right, when a man is
walking on the street with two women, he
shoulc' always walk next to the curb, and
never oetween the women. Patsy Ruth
Miller is with Fox. Lucille Ricksen is
with Fox.

Mickey Me. — Address Pola Negri at
Famous Players, 1520 Vine Street, Los
Angeles, California. Herbert Rawlinson
is with Universal.

Elaine A. — Some women say they want
a vote, when what they really want is a
voter. Eugene and John Gilbert are no
relation. Sidney Chaplin and Lucille
Ricksen are not married to each other.
Why, the average weight appears to be
120 pounds.

Lucille. — Luck is the idol of the idle,
but not when you put a P before it. Write
to our Circulation Department for Febru-
ary, 1923, issue of the magazine. Hope to
hear from you again.

Loopie. — You are a little late for the
July issue, you see. Yes, talk is cheap,
but food is as high as ever. Elaine Ham-
merstein is starring in The Foolish
Virgin, with Robert Frazer opposite her.

W. N. D— Mary Beth Melford is with
Universal. Betty Francisco is not con-
nected now. Bill Hart was with Famous
Players last. Alaska was transferred
from Russia to the United States in Sitka,
in the year 1867.

Ned S. — I cheerfully forwarded your
letter to Wallace MacDonald.

Miss J. De W. — Queen Victoria Mary,
daughter of the late Duke of Teck and
wife of George V, is the present Queen
of England. Robert Agnew in Love's
Whirlpool, and he is five feet eight and
a half. Address him at Universal ; he
is playing opposite Clara Bow in Wine.
So you really cried when your favorite
player was shot in the picture. That's
drama for you.

Belle of Utah.— Why, of course.
Fright causes a person to grow pale be-
cause it enlarges the heart and draws the
blood from other parts of the body. Mil-
ton Sills is with First National, and John
Bowers with Vitagraph. "Dont get high-
hat," as the flapper says. Write me again.

Mrs. Goodwin. — It is pretty hard to get
into pictures unless you happen to be the
type they are looking for, and then you
must be at the studio. He was born in
1892. Constance Talmadge in Lessons in
Love.

Tubby. — Address Lila Lee at Ince
Studios, Culver City, California.

Jack Bohn, as you will see him in
Monsieur Beaucaire

"Slender at last I

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Will Your Hair
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Mulsified lather, rinse the hair and scalp
thoroughly — always using clear, fresh,
warm water. Then use another applica-
tion of Mulsified, again working up a
lather and rubbing it in briskly as before.

You will notice the difference in your
hair even before it is dry, for it will be soft
and silky in the water.

Rinse the Hair Thoroughly

' I S HIS is very important. After the
-■■ final washing, the hair and scalp
should be rinsed in at least two changes of
good warm water. When you have rinsed
the hair thoroughly, wring it as dry as
you can, and finish by rubbing it with a

towel, shaking it and fluffing it until it is
dry. Then give it a good brushing.

After a Mulsified shampoo you will find
your hair will dry quickly and evenly and
have the appearance of being much thicker
and heavier than it really is.

You can get
Mulsified cocoanut
oil shampoo at any
drug store or toilet
goods counter,
anywhere in the
world. A 4-ounce
bottle should last
for months.
Splendid for children
— Fine for men.

Mulsified

Cocoanut Oil Shampoo

a-SS^

MULSIFIEDJ

COCOANUT OH
SHAMPOO I

1 v/

©r

A BREWSTER PUBLICATION

onj

THE QUALITY MAGAZINE OF THE SCREEN

OCTOBER

ALBERT
VARGAS

MAGAZINE,
25 cjs

Richard Dix

/jHSr-

.New 123 Method for

DOUBLE CHIN

Oil

SAGGING
FACIAL
MUSCLES

facial muscles, drooping
mouth lines mar what otherwise would be a pretty
face.

It is no longer necessary to labor under the handicap of
such facial faults. Use the Cora M. Davis 1-2-3 method,
consisting of an effective reducing facial cream, patented
chin and face strap, and astringent.

Worn While You Sleep

How simple— how convenient — how effective. Merely
apply the cream before going to bed. Then put on the
chin strap. The cream has so softened the skin muscles
that the strap is easily capable of starting its work of re-
ducing the double chin, raising the mouth lines and re-
turning to their proper places the sagging face muscles.
Then in the morning apply the astringent which tightens
up the skin and makes permanent the work done by the
cream and strap. Continue this for a few nights and see
the wonderful improvement in your facial contour.
Special combination price for all three articles, only $4.00.
Anyone desiring either of these three articles alone can
obtain them at the stipulated prices.

CORA M. DAVIS

Dept. XIO S07 Fifth Ave.

New York City

EAUTY cannot be
attained by a free use
of cosmetics alone.
Complexion is not every-
thing — the contour of the
face must also be correct.
Double chin, sagging

This astringent is a
mild lotion but con-
tains the correct
essentials to produce
firmness without
harshness, tightening
the skin smoothly
wherever applied.
Price $1.85

While prepared primari-
ly for reducing double
chin and fleshy facial
parts, many have
spoken highly of Cora M.
Davis reducing cream
for effective reduction
on any part of the body.
Price $1.00

Use this
Coupon

If your dealer

cannot

supply you

These Stores Sell The

Davis Chin Straps:

ANGOLA. IND. K. H. Mjcy

The Kratz Drug Store Bloomlngdale s *■<;

ASBURY PARK. N. J. Barnett Bros., (@ '

Steinback Co. Columbus \14

ATLANTIC CITY, N. J. A ,T*c. an 3

M. De'Hart. care Black- 74th St. and

stone Hotel »* «" « h,r

BOSTON. MASS. <■•»*■ «*•"• 4

Shepard Stores Drug Merchants of Amer-

Grace H. O'Hearn. Tre- t C a. Inc., Fulton St.

mont St. Liggett's Drug Stores

BROOKLYN, N. Y. Harlow & Luther, 46th and

A. I. Namm & Son Broadway, and others

Abraham & Strauss NORWALK, CONN.

Liggett's Drug Stores L. A. Isklgan, S. Main St.

BUFFALO. N. Y. PATERSON, N. J.

William Hengerer Liggett's. 165 Market St.

CANTON. OHIO Pellett's Drug Store

Creamer, 1221 St. Elms Ave. PHILADELPHIA, PA.

CHICAGO, ILL. Strawbridge. Clothier

Carson. Pirie & Scott Lit Bros.

Mandel Bros. Geo. G. Evans' Drug Stores

Boston Store Rita A. Kraus, 1615 Wal-

Rothschild nut St.

CLEVELAND, 0. Pauline Campbell, 13th

Kathryn Ann, Euclid Bldg. and Sansom St.

The May Dept. Stores PITTSBURGH, PA.

COLUMBUS. OHIO McCreery Co.

Charles W. Lane, 90 North Kaufman Bair

High St. McGinnia Vanity Shop

DANVILLE. ILL. Joseph Home Co.

Woodbury Drug Co. May Drug Co.

DENVER, COLO. POUGH KEEPSIE, N. Y.

Lewis & Son E. Moody. Main St

DES MOINES, IOWA PROVIDENCE, R. I.

Liggett's. 321 Sixth Ave. The Sheppard Company

DETROIT. MICH. RICHMOND. VA.

J. L. Hudson Hughes Hair Shop. North

GRAND RAPIDS. MICH. 3rd St.

Friedman Spring Dry SAN DIEGO, CALIF.

Goods Co. Dr. C. C. Benden

HARTFORD. CONN. SAN FRANCISCO. CALIF.

G. Fox & Co. The Emporium

MINNEAPOLIS. MINN. SOUTH NORWALK. CONN.

L. S. Donaldson Company Liggett's, 70 East Wash-

NEWARK. N. J. ington St.

L. Bamberger TERRE HAUTE, IND.

Petty's, 771 Broad St. Kintz Hat Shop

L. S. Plaut & Co. UTICA, N. Y.

NEW ORLEANS, LA. England & McCaffry

Maison Blanche WASHINGTON, D. C.

NEW YORK, N. Y. Liggett's. 1006 F Street.

James McCreery & Co. N.W.

Saks & Co. Mrs. B. Gaddis. 67 Ban-
Stern Bros. dolph Place. N.W.

Gimbel Brothers WILLIAMSPORT, PA.

Hearn, 14th St. near 5th The Charlotte Shop. 243

Ave. Pine St.

For sale at Owl Drug Stores from

Chicago to the Pacific Coast

CORA M. DAVIS,

Dept. X60, 507 Fifth Ave., New York City.

Send me the articles checked. I will pay the postman price
plus few cents postage on delivery. I am to get my money
back if not satisfied.

□ Davis Chin Strap $2.00

□ Davis Chin Reducing Cream 1.00

□ Davis Special Astringent 1.25

$4.25

□ Combination Special Offer of all three

above $4.00

Name .

Street

City

State ."

Motion Picture Magazine — Advertising Section

,0TION PICTURf?

MAGAZINE ■)

Do You
Know***

how to give a trousseau
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how to order in a res-
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□Check thin square if you want these books with the beautiful full-leather binding |
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When you write to advertisers please mention MOTION riCTUEB MAGAZINE.

3
PAG

^MOTION PICTURE
CI I MAGAZINE L

Motion Picture Magazine — Advertising Section

•a

THE FAMOUS FORTY

(Paramount (Pictures

for Fall and Winter are your guarantee of a
GREATER MOVIE SEASON!

Paramount's schedule of new pictures for fall and winter out-ranks,
picture for picture, any other program ever released anywhere. It
combines the greatest picture-making talent and materials of the age!

If ever you wanted a Memorandum for the Season that if it's a
Paramount Picture it's the best show in town, the program below is it!

Tell your Theatre Manager you want to see them ALL!
He wants to show what you want to see!

"The Ten Commandments'*

Produced by CECIL B. DE MIIXE.
To be played at legitimate thea-
tres during season 1924-25.

"Manhandled"
Starring GLORIA SWANSON. AL-
LAN DWAN Production. By Arthur
Stringer. Adapted by Frank Tuttle.

ZANE GREY'S .

" Wanderer of {the Wasteland "

IRVIN WILLAT Production. Jack
Holt, Kathlyn Williams, Noah Beery.
Billie Dove. Adapted by G. C. Hull
and Victor Irvin. Filmed in color.

"Changing Husbands"

With LEATRICE JOY. From
"Roles" by Elizabeth Alexander.
Directed by Frank Urson and Paul
Iribe. Supervised by CECIL B. DE
MILLE. Adapted by Sada Cowan
and Howard Higgin.

"Monsieur Beaucaire"

Starring RUDOLPH VALENTINO.

SIDKEY OLCOTT Production. With
Bebe Daniels, Lois Wilson, Doris Ken-
yon, Lowell Sherman. From Booth
Tarkington's novel and the play by
Booth Tarkington and E. G. Suther-
land. Screen play by Forrest Halsey.

"Worldly Goods"

Starring AGNES AYRES. By Sophie
Kerr. Directed by Paul Bern.

"The Enemy Sex"

JAMES CRUZE Production. With
Betty Compson. Owen Johnson's
novel. Adapted by Walter Woods and
Harvey Thew.

"Lily of the Dust"

Starring POLA NEGRI. DIMITRI
BUCHOWETZKI Production. From
a story by Sudermann and play by Ed-
ward Sheldon. Adapted by Paul Bern.

"The Side-Show of Life"

HERBERT BRENON Production.
Ernest Torrence, Anna Q. Nilsson.
From Wm. J. Locke's novel, "The
Mountebank" and the play by Ernest
Denny. Adapted by Willis Goldbeck
and Julie Heme.

"The Covered Wagon"

JAMES CRUZE Production. By
Emerson Hough. Adapted by Jack
Cunningham.

"Sinners in Heaven"

ALAN CROSLAND Production.
With Bebe Daniels, Richard Dix. By
Clive Arden. Screen play by James
Creelman.

REX BEACH'S

"A Sainted Devil"

Starring RUDOLPH VALENTINO

with Nita Naldi. JOSEPH HENA-
BERY Production. From "Rope's
End." Screen play by Forrest Halsey.

"The Man Who Fights Alone"

Starring WILLIAM FARNUM.
WALLACE WORSLEY Production.
With Lois Wilson. By Wm. Blacke
and J. S. Hamilton. Screen play by
Jack Cunningham.

"Feet of Clay"

CECIL B. DE MILLE Production.
Rod LaRocque. Vera Reynolds, Vic-
tor Varconi, Julia Faye, Ricardo
Cortez, Theodore Roberts. By Mar-
garetta Tuttle. Adapted by Beulah
Marie Dix and Bertram Milhauser.

JAMES OLIVER CURWOOD'S

"The Alaskan"

Starring THOMAS MEIGHAN.

HERBERT BRENON Production.
Screen play by Willis Goldbeck.

"Open All Night"

Viola Dana, Adolphe Menjou, Ray-
mond Griffith, Jetta Goudal. By
Willis Goldbeck. From Paul Mor-
and's stories. Directed by Paul Bern.

"Her Love Story"

Starring GLORIA SWANSON. AL-
LAN DWAN Production. From "Her
Majesty, The Queen" by Mary
Roberts Rinehart. Adapted by Frank
Tuttle.

"Empty Hands"

VICTOR FLEMING Production
with Jack Holt. Supported by Norma
Shearer. By Arthur Stringer. Scenario
by Carey Wilson.

"The Female"

Starring BETTY COMPSON. SAM
WOOD Production. From "Dalla,
The Lion Cub, " by Cynthia Stockley.
Adapted by Agnes Christine Johnston.

"The Fast Set"

WILLIAM de MILLE Production.
Betty Compson, Adolphe Menjou,
Zasu Pitts, Elliott Dexter. Screen play
by Clara Beranger from Frederick
Lonsdale's play, "Spring Cleaning."

"Dangerous Money"

Starring BEBE DANIELS. Adapted
from "Clark's Field," by Robert
Herrick. Screen play by Julie Heme.

"The Story Without a Name"

IRVIN WILLAT Production. Agnes
Ayres, Antonio Moreno. By Arthur
Stringer. Adapted by Victor Irvin.

"Forbidden Paradise"

Starring POLA NEGRI with Rod La-
Rocque. LUBITSCH ■ Production.
From "The Czarina" by Melchior
Lengyel and Lagos Biro.

"Merton of the Movies"-

Starring GLENN HUNTER. JAMES
CRUZE Production. With Viola
Dana. From the novel by Harry Leon
Wilson and the play by Kaufman and
Connelly. Adapted by Walter Woods.

"The Golden Bed"

CECIL B. DE MILLE Production.
Rod LaRocque, Vera Reynolds, Vic-
tor Varconi. Screen play by Jeanie
Macpherson. From Wallace Irwin's
novel.

"Manhattan"

Starring RICHARD DIX, R. H.
BURNSIDE Production. From "The
Definite Object," by Jeffrey Farnoi.

"Argentine Love"

ALLAN DWAN Production. Bebe
Daniels, Ricardo Cortez. By Vicente
Blasco Ibanez.

"A Drama of the Night"

JAMES CRUZE Production. By Le-
roy Scott. Adapted by Anthony Cold-
eway and Walter Woods.

" The Garden of Luxury "

A JAMES CRUZE Production. Star,
ring BETTY COMPSON.

"Where Honor Ends"

Starring RICHARD DIX. Directed
by Paul Sloane. Supervised by For-
rest Halsey. From" The JungleLaw,"
by I. A. R. Wylie.

"Peter Pan"

HERBERT BRENON Production.
Assisted by Roy Pomeroy. From Sir
J. M. Barrie's famous story. Screen
play by Willis Goldbeck.

ZANE GREY'S

"The Border Legion"

With Antonio Moreno. Directed by
William K. Howard.

"Tongues of Flame"

Starring THOMAS MEIGHAN. By

Peter Clark Macfarlane.

"North of 36"

IRVIN WILLAT Production. Jack
Holt, Ernest Torrence, Noah Beery,
Tully Marshall. By Emerson Hough.

"Miss Bluebeard"

Starring BEBE DANIELS. From
the play "Little Miss Bluebeard." by
Avery Hopwood and Gabriel Dregely.
Directed by Frank Tuttle.

'Olympe'

Starring POLA NEGRI. DIMITRI
BUCHOWETZKI Production.

'Interlocutory'

"Whispering Men"

Starring THOMAS MEIGHAN. By

Booth Tarkington.

"Unguarded Women"

ALAN CROSLAND Production.
Bebe Daniels. Richard Dix, Mary
Astor. £" ory by Lucy S. Terrill.
Screen play by James Creelman.

PRODUCED BY
S FAMOUS PLAYERS -LASKY CORPORATION fa

ADOLPH ZUKOR,P/>es/rfe/>«

Starring AGNES AYRES. Directed
by Frank Urson and Paul Iribe. By
Forrest Halsey.

"Wages of Virtue"

By Percival Wren . Starring GLORIA
SWANSON. ALLAN DWAN Pro-
duction. Adapted by Forrest Halsey.

"Locked Doors"

WILLIAM de MILLE Production,
By Clara Beranger.

IF IT'S A PARAMOUNT PICTURE IT'S THE BEST SHOW IN TOWN!

Every advertisement in MOTION PICTURE MAGAZINE is guaranteed.

A BREWSTER PUBLICATION

Motion Picture Magazine

The Quality J^Lagazine of the Screen

OCTOBER

{A Complete Table of Contents will be found on page 9)

IN PRAISE OF THE ABSURD

THE improbable is the life of pictures.
The public thirsts for the absurd, the thing that never happened in real life, the other side of
routine.

Every once in a while lofty articles appear in journals that consider themselves emissaries of
the Uplift, anent the "improbability" of the stories that are fed to the motion picture public by the
producers.

The "movie" is an escape, not a teacher. It is, and should be, fundamentally, a dramatization of
the absurd, a glorification of the jinx of invention. Besides, any combination of situations or char-
acters that the imagination of the screen-writer can think of, is not "improbable" psychologically.

Should pictures be "true to life"? Yes — but what is life? We read every day in the newspapers
of the most "improbable" and "absurd" of happenings. Yet when they are transposed to the screen,
we call them "trash."

A famous scenario-writer once showed us five stories that he culled from one day's reading of
the newspapers, with the remark :

"If we saw these stories reproduced on the screen, the critics would say, 'It is such absurd stuff
that keeps pictures on such a low level.' "

The absurdest and the most improbable series of pictures ever done are the old Mack Sennett
comedies. They riantly burlesque everything we humans ever have done. They are the most delight-
fully untrue bits of hocus-pocus ever acted. But the essence of truth is in them — -they show us the
human race as we probably look to eyes in the fourth dimension. "What fools these mortals be!"
might be their slogan.

There is really no such thing as probability and improbability in the realm of fiction and
entertainment.

"It never could happen !" you may say after leaving a picture show. You buy a paper on the
street, and, behold ! it has happened — something more ridiculously true and improbable than what you
have just seen on the screen.

Eifteen million people go to the movies every day in America. They go there to get something
they could not find during the day, something they cannot find at home — life turned topsyturvy,
ideal heroes, ridiculous adventures, delirious love scenes, improbable triangles, hair-breadth escapes,
stupendous luxury sets, improbable endings and miraculous repentances.

Logic ! They have that all day long. What they want to see in pictures is what never can hap-
pen, never does happen — or at least what never happened to them.

Away with reality ! Let us have more of the absurd !

F. M. Osborne, Managing Editor
Harry Carr, Western Representative A. M. Hopfmuller, Art Director

Published Monthly by the Brewster Publications, Inc., at 18410 Jamaica Ave., Jamaica, N. Y.

Entered at the Post Office at Jamaica, .V. Y., as second-class matter, under the act of March 3rd, 1879. Printed in the U. S. A.

EXECUTIVE |M EDITORIAL OFFICES, 175 Duffield Street, Brooklyn, N. Y.

Eugene V. Brewster, President and Editor-in-Cffef ; Duncan A. Dobie, Jr., Vice-President and Business Manager; George J. Tresham, Circulation Director;
E. M. Heinemann, Secretary; L. G. Conlon, Treasurer. Also publishers of BEAUTY, out on the fifteenth of each month; the CLASSIC, out on the twelfth.

MOTIONJpICTURE MAGAZINE is issued on the first of the month preceding its date.

Cogyright, 1924, in United States and Great Britain by Brewster Publications, Inc.

QMOTION PICTURp

Motion Picture Magazink — Advertising Section

Bargains that will Surprise
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The Smallest Monthly Pay-
ments— THE LONGEST
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taste to the last detail. A lamp whose Mellow
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Former Price $30

Big Saving *Fine Value*Easy Payments

The Palais Royal is a big, beautiful, impressive shade, 24 inches injdiam-
eter. It is made of a lustrous durable grade of Genuine Silk. The
panels in the shade alternate — plain and fancy as shown in the
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This lamp

can be furnished for

either gas or electricity.

The Electric Lamp

Comes equipped with long silk
covered electric cord and plug
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Nothing to buy but
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lthe Elec-
ftric Lamp.

Use this
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Satisfy yourself that it
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trial will not cost you a penny. Former Price,
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$17.95. Terms: $1 with order, $2 Monthly.

The

Gas Lamp

Comes Ready to
Use, nothing to
buy. Equipment:
Silk covered hose,
burner, mantle
and chimneys.

Palais Royal
SILK SHADE

Your Choice of Two Colors

Blue or Rose

J SPEAR & CO., Dept. M-302
■ Pittsburgh, Pa.

Be sure to state which

color shade you desire:

Rose or Blue

Send me at once the Floor Lamp as described above. Enclosed is Si.oo first
payment. It is understood that if at the end of 30 days' trial I decide to keep
it, I will send you $2.00 monthly. Order No. SA2946. Sale price, $17.95. Title
remains with you until paid in full. Send me your Big Free Catalog also.

If you want the Gas Lamp put an X here □
If you want the Electric Lamp put an X here □

Name Occupation .

NATHANIEL SPEAR, Pres. a R. F. D. Box No. or Street and No

, Dept. M-302 . Poat Office State

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Motion Picture Magazine — Advertising Section

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rWOTIOM PICTURP
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Motion Picture Magazine — Advertising Section

Every advertisement in MOTION PICTURE MAGAZINE is guaranteed.

^ -8 (924

C1B624663 a

Motion Picture Magazine

(Trade-mark Registered)

Founded b$ J. Stuart Blackton in 1910

OCTOBER, 1924

Vol. XXVIII

Number 9

THIS NUMBER CONTAINS:

Portraits and Picture Pages

Richard Dix — A painting by Albert Vargas from a photograph by William Eglinton Cover

Our Portrait Gallery — Exclusive studies of Beverly Bayne, Sylvia Breamer, Ronald Column, Ben Lyon, Colleen

Moore, Alberta Vaughn, Alice Calhoun, J. Warren Kerrigan and Shirley Mason 11-19

Rudolph Valentino Dances the Tango — Scenes from A Sainted Devil 22

Charles Chaplin — In the character he portrays in his new picture 23

A Study in Pessimism and Optimism — A cartoon by John Decker 26

"Two's Company — Three's a Crowd" — Flirtatious scenes from new pictures 30-31

Mr. and Mrs. Jack Pickford — A new portrait of the popular star and his wife, Marilynn Miller 34

"She Walks in Beauty, Like the Night"- — Posed by Jobyna Ralston 40

"There's Nothing Half So Sweet in Life as Love's Young Dream" — Posed by May McAvoy and Pierre

Gendron 41

Presenting His Majesty, Peter the Great — New pictures of a new canine star 42

Mary and Mary- — An exclusive portrait of Mary Pickford and her niece 47

Reeling with Laughter — Amusing scenes from current comedies 5 2_ 53

A Page of Promising Newcomers- — Five candidates for stardom 58

Their Favorite Indoor Sports — Snapshots of stars indulging in their pet pastime 62-63

Feature Articles

Horseshoe Ranch — The story of a day spent with Bill Hart by Helen Carlisle 20-21

Why We Are Glad to Get Back Home by Lillian and Dorothy Gish 24-25

The Story of My Life — An autobiography of extraordinary interest by Mae Murray 27-29

What They're Like Off the Screen — Amazing revelations about some of your pet stars by Harry Carr 32-33

The Question of Jack Pickford — An appreciation of this talented actor by Grace Halton 35-36

What I Can Read in the Faces of the Film Stars — An analysis of Corinne Griffith, Reginald Denny, Nita

Naldi, and Rudolph Valentino by F. Vance de Revere 44-45

The Women Who Love Him— Revealing the real Lew Cody by Gladys Hall 66-67

For Light Entertainment

The Girl Who Couldn't Be Bad-
Part IV of our serial of romance, adventure, and intrigue by Henry Albert Phillips 37-39

Adventures Off-Scene — Recounting a number of amusing incidents and anecdotes, .by Benjamin De Casseres 43

Fables in Celluloid —

Told and sketched with apologies to Msop and his illustrator. . by Margaret Norris and Helen Hokinson 46

One Night in Rome —

J. Hartley Manners' famous play of the same title, retold in short-story form by H. M. Hamilton 48-51

Departments

In Praise of the Absurd — an editorial

The Winners of the Month — A review of the best Modern Drama, the best Comedy, the best Western, and

the best Costume Picture by Laurence Reid

That's Out — Keen Comment about the people and the affairs of Filmland by Tamar Lane

We're Asking You — A question-box for the readers Conducted by the Editorial Staff

On the Camera Coast — News about stars and studios on the Pacific Coast by Harry Carr

Critical Paragraphs About New Productions —

Brief, illustrated reviews of pictures recently released by the Editorial Staff

Trailing the Eastern Stars —

News about picture people and studios on the Atlantic Coast by Dorothea B. Herzog

Letters to the Editor — An open forum, in which we publish a number of letters or excerpts from letters from

our readers ■

What the Stars Are Doing- — An alphabetical list of screen players, naming the pictures they are now

making Conducted by Gertrude Driscoll

The Answer Man — Brief replies to readers who have asked for information about the stars and studios

54-55

56-57

60-61

64-65

68-69

72
74

9
PAG

<TGMOTION PICTURP
JnCI I MAGAZINE u

Motion Picture Magazine — Advertising Section

In OLD DAYS the care of the skin was based almost entirely on supersti-
tious legend; today it is a matter of definite scientific knowledge

Mhis Booklet
the most famous skin treatments
ever formulated - -

The famous Woodbury skin treat-
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set of the Woodbury skin preparations, containing :

A trial-size cake of Woodbury's Facial Soap
A sample tube of Woodbury's Facial Cream
A sample box of Woodbury's Facial Powder
Together with the treatment booklet, "A Skin
You Love to Touch. "

If you live in Canada, address The Andrew Jergens

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tSE

Every advertisement in MOTION FICTUKE MAGAZINE is guaranteed.

SEP -a w

Hoover

BEVERLY BAYNE

This famous star has lost none of her radiance in the few years she has been away from
the screen, as she will prove to you in her new picture, Her Marriage Vow

MWNNHWWMHHHnnK"'

Henry Waxman

SYLVIA BREAMER

It is said of Sylvia Breamer that she has the most
alluring profile of all the stars of the screen. Her
last picture, The Woman on the Jury, has just
been released, and she is now working with Doris
Kenyon in // / Ever Marry Again

Edwin Bower Hesser

COLLEEN MOORE

Here is the world's most celebrated flapper, in one of the
costumes she wears in her latest picture, Flirting With
Love. Notice her hair — she adopts a new style for every
new picture. It was a straight Dutch cut in The Perfect
Flapper; what will it be for So Big, her next starring
vehicle?

Seely

ALBERTA VAUGHN

Alberta Vaughn established herself as a comedienne
of the highest rank by her interpretation of The
Telephone Girl, in the series of that name. She is
working now with George O'Hara in another series,
The Go-Getters

Edwin Bower Hesser

ALICE CALHOUN

Tho Alice Calhoun is most appealing and charming
in society roles, it is the role of the Western girl
that seems to fit her to perfection. At the left she
is pictured as Ruth Harkness, in The Code of the
Wilderness

^** *».,

WARREN KERRIGAN

Tho J. Warren Kerrigan has been a favorite of the
fans for many years, his work in The Covered Wagon
brought him a long line of new admirers. He is
now playing the title role in Sabatini's Captain Blood,
and at the right we reproduce a portrait of him in
costume

Henry Waxman

SHIRLEY MASON

Shirley Mason is one of the most convincing in-
genues of the screen. Her last picture, The Great
Diamond Mystery, was recently released, and she
is now playing the heroine of My Husband's Wives

On a hillside, back of the ranch proper, are the graves of William S. Hart's two loved dogs.

He made and lettered the headstones himself, and he spent the Fourth of July last year, all

alone on his ranch, burying his pet bulldog, Congo

The photographs
on this page, and
the two that illus-
trate the article,
Horseshoe Ranch,
were taken spe-
cially for Motion
Picture Magazine,
and are the only
pictures that
William S. Hart
has ever permitted
to be made of his
famous ranch

At the left are the
foreman of Horse-
shoe Ranch, and
the owner himself,
who is having a
chat with Pinto
and Cactus Kate.
When you see this
famous motion
picture star in
these surround-
ings, it is hard to
realize that he
ever has been any-
thing but a rancher

20
at

Horseshoe Ranch

Recounting a day spent with William S. Hart on his

famous ranch

By HELEN CARLISLE

THE valley lies smiling in the California sunshine.
Far to the north the ranges of Santa Susana and
San Gabriel stand out in clear relief. Rose, violet
and gray, the desert Portal Range and Sierra
Pelona wall off the furnace heat of the Mojave.

It is not without historic interest, this valley. Fremont
passed this way. Thru the near-by hills the famous
Fremont Pass was hewn in 1847. A monument marks
it now.

Not far away the old mission of San Fernando dreams
peacefully — dreams perhaps of more colorful days when
Spanish dons rode thru the valley, and mission bells called
the Indians to prayer ; days when the padres walked thru
fields of yellow mustard flowers, shoulder high, as they
trod El C amino Real from one mission to another.

Little towns, those lazy, sun-scorched inland towns of
Southern California, dot the valley. The broad, rolling
acres of Bill Hart's
Horseshoe Ranch
sweep nearly to the
outskirts of one of
these.

I doubt that the
original owner of
this Spanish haci-
enda would recog-
nize it now. To him
the hundred or more
white and live oak
trees which stand
on the property
would no doubt be
familiar. Even the
interior of the
ranch-house, all of
California redwood,
and the crude, com-
fortable fireplace,
with pots and pans
still standing on
blackened stones,
would seem like
home. But the yel-
low stuccoed ex-
terior, the gayly
painted new red
roof, the irrigation
system which keeps
the lawns a vivid
green and permits
the growth of tropi-
cal flowers and
massed vines — these
the original owner
would not know at
all. They're a few
of Bill Hart's im-
provements.

~D ill says the
"^ Horseshoe
Ranch belongs to
Pinto. Certainly the

Bill Hart is pointing out to Helen Carlisle the wonders of the desert
mountain-ranges — rose and purple and golden in the sunset. Back
of them you can see a part of the ranch-house, with its red roof. At
the top of the page are reproductions of the Horseshoe "brand,"
above the gate leading to the ranch

famous little horse and his four companions, Cactus Kate,
Yucca Sal, 'Lis'beth, and the colt King-Valentine, have
the run of the place. They gallop over the hills which
rise in terraces back of the ranch-house. They stand in
the shade of the oak trees and, one supposes, talk horse-
sense to one another. They're never permitted on the
lawn, but every other inch of the property is their own.
And Pinto is boss. Having been a motion picture celeb-
rity, he naturally has the drop on the others. They know it.
It is a most hospitable place, that ranch, and some of
the most famous actors, authors, and artists have been
Bill Hart's guests there. An invitation over the week-end
is to be prized, for Hart is an excellent host.

Mary Garden, Pola Negri, Kathlyn Williams and her
husband, Charles Eyton, Mr. and Mrs. Will Rogers, the
celebrated K. C. B., James Montgomery Flagg, are a
few of those whom Bill Hart and his sister, Miss Mary

Hart, have enter-
tained at Horseshoe
Ranch.

If -the house is
filled to overflowing,
some of the guests
occupy the quaint
New England cot-
tage not far from
the ranch-house
proper, or bunk in
the log cabin which
stands atop a high
hill overlooking the
valley and the far
mountain ranges.
This bunk-house
you'd probably
recognize if you saw
Singer Jim McKec,
for Hart used it in
this, his last picture.
I say his last pic-
ture, for he says it
is improbable that
he will ever appear
on the screen again.
Everyone, of
course, knows of his
split with Famous-
Players-Lasky, but
the Bill Hart fans,
and they are legion,
have held out the
hope that the
famous Westerner
would sign a con-
tract with some
other film company.
Hart declares, tho,
that the 'only way it
is possible for him
to make pictures, is
as he has made them
for the last several
(Con. on page 106)

0) fS

Rudolpk Valentino Dances

tKe

Argentine Tango

Motion picture fans will be delighted to learn that in his new
picture, A Sainted Devil, Rudolph Valentino dances the tango
again, for the first time since The Four Horsemen of the
Apocalypse, three years ago. At the right you see him with
Helen d'Algy, costumed for the dance

1 09

■ H

1" '

i 1

III

CHARLES CHAPLIN

Charles Chaplin journeyed to far-away Alaska to make special scenes for his
new picture, which is tentatively titled Chilkoot Pc&s. The setting above is
a deserted miner's cabin in which Chaplin, in the role of an innocent pros-
pector, has found temporary shelter

23
PAG

Why We Are Glad

(Lillian and Dorothy Gish left the United States for
Italy in October, 1923, to make a picturisation of
"Romola" in Florence. They zvere absent more than
eight months and were the happiest girls in the
world wJien they sighted the Statue of Liberty)

\SLSL**>^

SkIju.

THE movies have taught me that the things worth
having are those dearly bought.
I realized this more than ever during our stay
in Florence while filming Romola.

Despite the hardships we suffered, I know the picture
will prove that it was well worth while. It required the
original Italian setting, and I doubt if that fifteenth cen-
tury atmosphere could have been secured under any other
conditions.

But there were times when we thought we could not
endure another day of it.

Each night as we retired we liter-
ally prayed that the next day would
dawn clear and bright so that we
might make up some of the time lost
thru inclement weather.

But, no ! Maybe, as Dorothy said,
the Italian "dispenser of weather"
didn't understand English.

But I felt that we shouldn't com-
plain in the face of the patience and
endurance displayed by the extras.
Day after day, seven o'clock found
a mass of picturesquely costumed
Italians hoping for work.

"Not today,'' would be the invari-
able greeting of the casting director.

"Tomorrow, then?" they'd ques-
tion. But "tomorrow" would invari-
ably be little better.
24
at

I" cant too highly praise the Italian workmen who carried

out in such minute detail the exact setting of the story.
Nothing was too much trouble. Over and over they would
work on a set in order that it might be an exact replica of
fifteenth century architecture. That's why I say that the
hardships we endured were worth while. The picture is
perfect.

I learned why Italians make such wonderful workmen.
They are willing to be "told," and possess an astonishing
ambition to do anything exactly as it should be done. They
are loyal to the Italian ideal. They must have said to them-
selves : "We will show the world the beauty of Italy's han-
dicraft, back there in the Middle Ages when the rest of the
world was not so clever." And they did.

But it must be that loyalty is characteristic of the Italians.
It was interesting to see them when Mussolini would pass.
Cries of "Mussolini!" would go up from the cheering mob,
accompanied by waving caps and bright bandannas.

"No! Not Mussolini, but Italy!" the great man would
shout in response.

The phrase made them his adorers more fervently than ever.

T5 ut when I speak of hardships, please dont think I regret
-the experience or am complaining. One cant expect to
do new things in the ease and comfort of an American
studio. And then, too, I would be an ingrate if I did not
credit the trip with the complete restoration to health of
our dear mother. I remind myself of this when I am
tempted to think of the difficulties we underwent, such as
trying to do necessary shopping.

America spoils one for shopping. One can go into a
department store anywhere in this country and buy any-
thing needed from a needle to a complete wardrobe. But
over there ! One must trudge about in the mud for hours
in order to buy a spool of cotton to match a given color.
At the time these things seem tragic, but now, of
(Continued on page 109)

Wide

^ju.*^ coulvw Q^-uus. SL^r^-*-, ( ^V -*— e^-X

I'm also glad to get back, because I missed some very dear

friends
Because it is a waste of time to undergo unnecessary hardships
Because I got homesick for. a movie
And because this is the greatest country in the world to live in

To Get Back H

ome

(And the American movie fans missed the Gishcs
every bit as much as the two stars missed America
and things American. These articles are a very sin-
cere expression of their feelings toward their native
land and its people, and their state of mind on return )

NCm I realize why Christopher Columbus kissed
the ground on reaching America. I almost did
myself. I know that's what he did because I read

tpii fV, * V a Ju 1St ° ry , b , ° k once - And historians always
tell the truth They re like press-agents in that respect

Ine man who saw America first was a wise one I'll say
He knew a good thing when he saw it

You see Columbus was born in Italy and came to
America. I was born m America and went to Italy Fach
ox us saw both countries. Now I know he had excellent
judgment. I realize from personal experience why he was
glad to get here.

Italy is a fine place to visit, but I know I'll never take out
any citizens papers. No, indeed. I'm not making a rash
unpremeditated statement, either. For my visit there was
no tourist s trip. I lived there for eight' months— "dwelt
beneath those sunny Italian skies." as the poets say— and '
never saw so much rain in my life!

It came down in buckets ful day after day, week after
week, month after month. Yes. I've got to be dramatic

f-^ Ut u > i a SOr 1 l,° f S0lace t0 m >' offerings to do a
htt e sob stuff over Florence— it's a city, you know— not a
girL it s the place where we made Romola

If the weather had been at all considerate we might have
finished the picture in half the time, but it wasn't, and
that s that !.

Well, working in Italy is nobody's business— no lady's
anyhow. Eliza had more fun crossing the ice than we
did crossing the location— her path wasn't so slippery

i Alb.i.

gvERY evening after work I'd rush to the hotel and
take a hot bath and all the cold-in-the-head preventa-
tives I could lay my hands on. I'd be so damp and chilly
all the time I was working that my teeth chattered. I
flirted with pneumonia for eight months and got away
with it, so came to the conclusion that I must be immune
After the hot plunge came dinner. A truly delightful

World

tz***<^ j > 4i^r ^ jC_

'gt- Q^JPat^

Ar.so :

Because in sunny Italy it rains only 366 days a year

A diet of beans and salami gave me a taste for steak and
mushrooms

My eyes yearned for the sight of straightforward, immacu-
late American men

repast ! It consisted of that famous army dish— beans ■
More and more did I come to realize why the boys in
prance didn't mind facing death. Those beans! Well
1 cant even look at a tin-can now.

And the price of them! You'd think they were
truffles. Can you imagine paying ninety cents for a can
of beans? Talk about the high cost of living over here
All the grocer in Italy needs is a dark lantern and a gun
and he d be a bona fide, robber and a candidate for a
hold-up union or the bobbed-hair banditti.

When we didn't have beans, we
had salami. It's a funny thing about
salami. Each town makes it a little
different from the rest, and you
have to pay a tax to bring it from
one place to another. The officials
search your trunks for it. You can
carry as many valuables about you as
you like and get away with it. but
salami! Well, no customs officer is
more avid to find aigrettes in a
home-coming American's trunk than
the Italian is to discover salami in
your jewel-case.

After the evening's repast of beans
and salami, and salami and beans,
we'd sit down to that thrilling in-
door sport — checkers.

Boasting aside, I'm sure I can
{Continued on page 109)

25
PAG

Decker caricature of Buster Keaton, Douglas Fairbanks, Mary Pickford and Jack Holt

A Study in Pessimism and Optimism

Heury VVaxman

The Story of My Life

FROM my earliest childhood, I have danced. When
I was just a tiny child I used to follow the hand-
organs thru the streets of New York, and dance
the soles out of my stockings to their music.
I lived with my granamother in Varick Street, in
Greenwich Village. Altho I was not born in New York
City (someone has said there is no such person as a
native New Yorker), my earliest memories are identified
with that city, for I was sent to live with grandmother
there, at the death of my father, when I was four
years old.

Portsmouth, Virginia, was my birthplace, and my birth-
date was May 10th, 1893. I am of Italian and Austrian
descent. Father was an artist, and he must have been
either a very poor artist or a genius, for he never con-

trived to make more than a bare living. I do not re-
member him at all, and I was never very close to my
mother, for I was separated from her when I was so
small.

I was an only child, and grandmother took the place
of an entire family to me. No doubt she was glad there
were no brothers or sisters to follow my example, when
she found how determined I was to tour the streets with
the hand-organ grinders !

I really didn't mean to disobey her. I think that in
other ways I was quite an obedient child, and sometimes,
when I had followed the organ men for hours, and turned
toward home hot, tired and dusty, with my stockings
worn thru from dancing and my feet blistered, I would
make staunch resolutions to ignore the lure of their music

27
PAG

GMOT10N PICTURP
tlBI I MAGAZINE t

At the left is a
scene from Mae
Murray's latest pic-
ture, Circe, which
was written spe-
cially for her by
Vicente Jbariez.
Contrast this char-
acterization with
the one on the op-
posite page, which
is from the same
picture. Miss Mur-
ray has so per-
fected her art that
she is equally con-
vincing as the wist-
ful, innocent child,
and as the sophis-
ticated "Jazz baby"

The portrait of Miss
Murray reproduced
below was made at
the age of fourteen,
less than a year be-
fore she entered the
Follies, and long be-
fore she dreamed of a
screen career

in future. Probably I was influenced on these occasions
by gloomy forebodings of punishment to come.

Grandmother had an unusual way of punishing me.
She would not whip me, nor even scold me. She simply
would ignore me for three or four days at a time, not
speaking to me at all. She wanted, I know, to break my
will, but the urge to dance was stronger than the good
resolutions with which I fortified myself, stronger than
my dread of her displeasure, and within a few days

away I would go again.

When I was nine she placed
me in a convent near New
York. I believe that I was a
fairly good student, tho by no
stretch of the imagination could
I have been classified as a book-
worm type of person. My de-
sire to go on the stage, and
dance, overshadowed every
other interest I had in life.

Second to this was my
interest in sketching and design-
ing. As a child I would make
elaborate tissue-paper dresses
for my dolls, and as I grew
older I designed my own
clothes. I attended classes at
the Art Institute in 57th Street,
and during summer vacations I
went up to Woodstock in the
Catskills where the Institute's
summer school was located.

At the convent
was a girl a year or
so older than my-
self, whom I ad-
mired very much. I
suppose every school-
girl has the experi-
ence of having a
"crush" on some older
girl who seems to her
just a little superior to the
common run of humanity.
Probably one reason I admired

this older girl so much was because her mother was an
actress. I was thrilled at the opportunity to associate
with anyone even remotely connected with the life of the
theater.

One day my friend did not appear at any of her classes.
When I inquired for her some of the other girls said that
she had gone to Chicago to join her actress-mother. Im-
mediately I was consumed with a desire to go to Chicago,
too. My friend, I reflected, would probably go on the
stage with her mother. She might even become a famous
theatrical star while I sat in school poring over Latin
and algebra.

The more I thought of the gay and- colorful adventures
undoubtedly in store for her, the more restless I became
with my own commonplace existence. At the close of the
spring term I determined to go to Chicago, locate her, and
persuade her to help me get on the stage. I was just
fourteen at this time.

The enthusiasm and faith of Youth! I had but little

At the left, and on the opposite page, are sketches by Nell Brinkley of Mae Murray,
as she looked when she appeared in the Follies as "The Brinkley Girl." It was her
resemblance to Mis? Brinkley's popular creation, combined with the cleverness of Miss
Murray's interpretation of the role, that brought her prominence overnight as a
Follies star, and gave her the title of "The Brinkley Girl," which has clung to her ever

since, to some extent

qBFOTEFR

more than enough
money to pay my
fare to Chicago, and
I hadn't the faintest
idea where to locate
my friend when I
got there, yet I cheer-
fully set forth on the
journey, without
questioning that
everything would
turn out splendidly
for me.

My grandmother,
of course, knew noth-
ing of this. I had
been in the habit of
spending my summer
vacations at the con-
vent, going into New
York occasionally to
visit her. The Sisters
permitted me to leave.
My grandmother, on
the other hand, be-
lieved me in the con-
vent and it was sev-
eral days before my
disappearance was
discovered.

T arrived in Chicago
A one morning, and
after checking my
bag, which held
nearly all my ward-
robe, I started out on
my tour of stage
entrances, inquiring
for my friend.

There is a watch-
man at every stage
door, just as today
there is one at every
studio entrance, and
his most important mission in life is to scare off ambitious
little schoolgirls with theatrical aspirations. I think,
that in the search for my friend, I was ordered away
■from nearly every stage door in Chicago.

The extraordinary thing is that I actually located her!
She was in the chorus of a musical comedy, and most
wonderful of all, I was given a try-out and placed in the
chorus, too. You can imagine how thrilled I was.

This show did not last long — I've forgotten the name
of it, even — and during the year that followed I was in
the chorus of four different musical comedies. One was
called Fascinating Flora, after that I was placed in one
of Gus Edwards' Revues, and at the close of my first
year on the stage I was back in New York in the chorus
of The Alaskan.

Do not think that I was permitted to pursue my
theatrical career without protest from my relatives, how-
ever. Three times during that year I was taken back
to the convent, and all three times I fled back to the

This scene from Circe reminds Miss Murray of her childhood
days which were spent in a convent

fear of Mr. Ziegfeld. He is
one of the kindliest men I have
ever known, and I feel that I
owe a great deal to him, for
he singled me out of thousands
of stage-struck girls in New
York, and gave me my first
real opportunity. Every since
that time I have called him
"The Magic Wand."

/"Grandmother died shortly.
^* after I entered the Follies,
and tho the aunts with whom
I lived later did not approve of
the theater as a means of earn-
ing one's livelihood, they no
longer persuaded me to leave it.
(Continued on page 82)

When Nell Brinkley glimpsed Mae Murray in the Follies, she wrote of her: "She's exquisite!
I might have made her myself, with my pen point and a piece of clean cardboard. She's
little, little. And her waist is not tight and small. Her nose turns up in wonderful fashion,
and her mouth pouts; her eyes are big and lazy, and her jaws delicate, but square, square!
And she puts up her chin and frail shoulders, and spreads out her pink fingers and arches
her brows in high jaunty insolence, and stands with flattened back, like a lazy-bodied boy.
Oh, she's a ripping Bettina! Her face is a Betty face, and her wonderful poses of hands and
head and knees and shoulders are 'pics,' my 'pics.' I might have made her"

theater at the first
opportunity. I was
attracted to it as steel
is attracted to a mag-
net. I simply couldn't
do otherwise than I
did.

It was while I was
dancing in The
Alaskan that Florenz
Ziegfeld saw me, and
sent me a letter, ask-
ing me to come and
see him, as he would
like to give me a try-
out for the Follies.
But I wouldn't go. I
was afraid of him.
He sent me two more
letters and I ignored
them all.

One night he hap-
pened to see me, as I
was going home after
the evening perform-
ance. He was stand-
ing in the lobby of
the theater, and he
called to me.

"Why haven't you
answered my letters,
little girl?" he asked.

After assuring me
that he wasn't an
ogre, and wouldn't
eat me alive, we dis-
cussed a try-out for
me, and as a result I
entered the chorus of
the Follies in 1908. I
soon found how ab-
surd had been my

S II

29
PAG

Two's Compart})

When you see
Single Wives, John
Patrick and Phyllis
Haver will demon-
strate to you, much
more in detail, this
new use for the
popular scarf

In this scene (be-
low) from Helen's
Babies, Edward
Everett Horton
doesn't seem to ap-
preciate Baby
Peggy's company as
he should

Tho this divan was
really built for
three,' Edna Hanan,
in Puppy Love,
slowly proves to
Gordon White that
it can seat two very
comfortably

Glenn Hunter and
Viola Dana, in the
scene from Merton
of the Movies, pic-
tured below, show
that two can be
very, very good
company

Two were very
proper company
indeed, way back in
the '90's — witness
the love-sick pair
above, in a scene
from Dynamite
Smith. Charles Ray
is proving that he
is a youth of high
ideals and princi-
ples by carrying
on a long-distance
courtship with his
best girl

ree s a

Crowd !

We give you three guesses which one
of the two chauffeurs, in this scene
from The Telephone Girl, is going to
be left out of the crowd when the
taxi starts with its company of two

We know exactly how
Matt Moore and Patsy
Ruth Miller felt when
her kid brother (Ben
Alexander) insisted
upon joining the
party. We had a pleas-
ant evening spoiled
that way ourselves,
not so long agd

The expression on Adolphe Menjou's
face, as he gazes upon Vera Reynolds
and Robert Ellis, demonstrates that
he is fully conscious of being the un-
welcome third in this scene from
For Sale

This happy trio proves that there are exceptions

to all rules, and that an addition to a company of

two is occasionally welcome

Find the officer, in
the scene from Lily
of the Dust pictured
below, who is con-
templating challeng-
ing his brother officer
to a duel, for spoiling
bis tete-a-tete with the
pretty librarian (Pola
Negri)

Wken They're Off the Screen

By
HARRY CARR

THE actors call it "doing their stuff." Sometimes
it is just "acting" off the screen. Sometimes it
is the sincere expression of their personality.
For instance, Norman Kerry. When you first
meet him off the screen, he has a regular line of stuff that
he pulls for your benefit. A sort of heavy haw-haw life-
guardsman blase elegance. But when you get in beyond
that, he is one of the most genuine and least affected
gentlemen in Hollywood. He fools you by this world-
weary pose. This fact dawns upon you the first time you
see Mr. Kerry working with children. He is absolutely
crazy about kids and they are equally devoted to him. If
there is a child in a Norman Kerry picture, the director
groans in anticipation. It means one long search for the
leading man ; means digging him out of marble games and
playing house and playing horse twenty times a day.

Adolphe Menjou on the screen is a very different per-
son from Adolphe Menjou off. On the screen, he is a
blase and wicked roue, case-hardened and callous — aware
of the futility of everything. The world, to the screen
Adolphe Menjou, is a sucked-out orange and death is just
a sardonic jest. Off the screen, he is the best informed
man in Hollywood.

For some strange reason, everybody speaks of him and
thinks of him as a Frenchman. He is an American from
Pittsburgh, Pennsylvania,
and graduated from Cornell.
Every time you meet him on
a set he is wrestling with
some enthusiasm which has
knocked him into a heap.
One day it is the tennis
stroke of Miss Helen Wills ;
the next day it is Eric von
Stroheim's picture, Greed;
or the new Death Ray. Ernst
Lubitsch says, jokingly, that
he likes to have Menjou act-
ing in his pictures because it
saves him the trouble of
reading the editorial pages.
When Menjou comes on the
set, Lubitsch says with a
flourish, "Good morning ;
here's the daily paper."
32
GE

Pola has an uncomfortable way of seeing underneath
all the pretence of herself and all her friends

Raymond Griffith is something like that. Only with
Ray, it is always a warm discussion. At the Athletic
Club the other day I saw Griffith in the middle of a
furious argument with an army officer about the British
defences of India; that was when I went in to lunch.
When I came out, he was arguing with a Catholic priest
about the right of the Pueblo Indians to dance their
pagan religious dances. Later on he and Sam Wood, the
director, were leaning over the cigar-stand holding forth
on the general duplicity and depravity of scenario writers.
Lew Cody is the literary directory of Hollywood. He
has the monthly bulletins of the Authors' League whipped
to a whisper. While the electricians are changing the
lights, Lew will shout to you from the set: "Pete Kyne
is back in town : yes, he's starting to write another South
Sea novel."

While the pure and lovely heroine whom he is about to
assault is powdering her nose preliminary to that event,
Lew sits down on the nearest prop and tells you how
Frank R. Adams has decided to change the climax of his
latest story or why they couldn't get Theodore Dreiser to
film Sister Carrie.

Lew likes to tell as a great joke how the public thinks
that his screen villainies are also his private character ;
how he never meets a girl socially that she does not

prepare to yell for help if
worse comes to worse. He
laughs about it but I think it
hurts him too.

Carmel Myers is his only
rival as a literary guide.
Only Carmel's specialty is
newspaper men. I dont
know just why, except that
she was more or less brought
up in that atmosphere and is
an extraordinarily clever
girl ; but anyhow Carmel's
suitors are always writers.
She is the undisputed belle
of that circle. Carmel knows
just how everybody scooped
everybody and why all the
star reporters fell down at
critical moments. On the

„,...otion picTimn

01 I MAGAZINE t\

eve of her departure for Europe to appear in Ben Hur,
some of her friends gave her a party and, in midst of it,
some one discovered a fact previously unnoticed : that
every one there was in the newspaper business.

Two of the most popular girls in Hollywood are mad-
dening to try to talk to. They are Bessie Love and Betty
Compson. You ask them a question; and right in the
middle of the answer, they gallop away to ask some elec-
trician how his wife's operation came out. You try again
and they stop to wave to a photographer. I think, how-
ever, there is more method than madness in their madness.
Underneath her simple, light-hearted girlishness, Betty
Compson is an exceedingly shrewd girl with a keen
instinct for the politics of the situation. Bessie is a
hard-headed little business woman with -a big dairy ranch
and a lot of real estate to look after.

Pola Negri is the most candid soul in Hollywood.
Right in the middle of some thrilling and agonizing
remark, she will suddenly stop and say: "Of course, that's
only a bluff [she calls it blauff]. That's what we all are
— just blauffs." Pola has an uncomfortable way of seeing
underneath all the pretence of herself and all her friends.
She doesn't go out very much socially; but she says she
cant bear to be alone. So she always has some frantic

When Menjou comes on the

set, Lubitsch says with a

flourish, "Good morning;

here's the daily paper"

intimacy in progress. You never can tell how you are
going to find Pola. One day she will slip up behind you
on a set and put her hands over your eyes, shrieking with
laughter as you pretend to guess who it is ; another time,
she will be as gloomy as a thunder-cloud.

Jetta Goudal, the little French girl who has made such
a sensation in Hollywood, is a lady full of troubles.
Every time you see her something has happened to
envelop her life with woe. One day the railroad has lost
her trunks ; the next day something else has happened.

You ask Bessie Love and Betty Compson a question;

and right in the middle of the answer, they gallop

away to ask some electrician how his wife's operation

came out

When you just talk to her, she has one manner — quite
simple and sincere. When it dawns upon her that you
are interviewing her, she becomes quite dramatic and
thrilling — with a low tense voice and eyes that do various
and fascinating peregrinations hither and yon. She is a
good talker, however.

Mary Pickford occupies a curious position in Holly-
wood. She is the object of adoration of all the younger
screen actresses. They follow her when she goes into
department stores ; and they watch her walking along the
street just as other fans watch them. If there is one tiny
streak of affectation in Mary's cosmos I have never been
able to find it. She is always practical and matter-of-fact.
You seldom see Mary down-town. The place you usually
see her is in her little bungalow at the studio ; or in the
tiny Japanese lunchroom where she and Doug dine with
their staffs. Mary is always late and always comes
bustling in with arms full of packages ; and she always
has the funniest little apologies and alibis to excuse herself.

Blanche Sweet is always associated in my mind with
long talks held in the most extraordinary places — such as
sitting in wheelbarrows or on the steps of cutting-rooms.
Blanche will never pretend to be interested if she isn't
interested. She has a stark almost savage honesty. If
you bore her, she never lets you rest in doubt about it.
Happily, she is easily interested, however.

Louise Fazenda Well, there are two Louise

Fazendas. One is a rather posey and somewhat affected

young lady who makes witty remarks. The other is a

very matter-of-fact, genuine, hilariously funny girl who

(Continued on page 84)

If there is a child in a Norman Kerry picture, the
director groans in anticipation. It means one long
search for the leading man; means digging him out
of marble games and playing house
and playing horse twenty times a day

Henry Waxnu-n

MR. AND MRS. JACK PICKFORD

Marilynn Miller was a famous Follies beauty, and the very popular star

of the successful musical comedy, Sally. She married Jack Pickford in,

1922, and it is rumored that they have lived happily ever after

'34

The Question of Jack Pickford

An appreciation of tkis young star who, if he stood alone, and were measured in the public eyes onl$ b$ the merit
of his work — as an artist should be measured — would accomplish very great things indeed

BS GRACE HALTOM

HE sat there behind a
desk in the small
studio office-room,
and from time to time
he lit a cigaret, rather nerv-
ously. • When he smiled, it was
quickly but with no reflection
of an inner amusement in his
eyes. He talked rapidly, but
without ease. I felt that in his
mind he was wondering what I
would ask him next and wish-
ing quite fervently that I would
leave.

Outside the summer sun beat
hotly down on the Pickford-
Fairbanks lot. The walls of
Mary's old Rosita sets seemed
to curl and quiver in the down-
pour of tropical sunshine. The
minarets of Bagdad rose, an
eye-piercing blaze of silver
against the hard blue of the
sky. Only in the shelter of the
mammoth walls of Doug's
mediaeval castle, erected for
Robin Hood and later serving
Mary well in Dorothy Vernon
of H add on Hall, was there
shadow and cool.

And, quite wisely, a Pick-
ford-Fairbanks chauffeur had
parked one of the family's
Rolls-Royce cars in this grate-
ful shade.

So Jack Pickford and I sat in the little office — Jack
most immaculate in white trousers and well-cut gray coat
— and when the riveters, working on a giant gas-tank
near-by, did not drown out our conversation with their
staccato clatter, we talked of various things.

But I knew, even as I asked him questions and he
answered them obediently, like a little boy who hopes he'll
grade at least eighty per cent, in examinations, but rather
doubts it, that it was no sort of interview.

One gets no glimpse of the real Jack Pickford this way.
I know, for I've met him a dozen times in the last half-
dozen years, at parties, formal and informal, at the vari-
ous dancing places, on transcontinental trains. Times
when he was his natural, youthful self.

He was not himself the other day. His manner was
guarded. He was earnestly striving to uphold the dignity
of the Pickford family.

He endeavored not to arouse interest in himself and in
his reactions, veering ever from the personal with talk of
Marilynn, of Mary and Doug.

"It's lonesome around here without them," savs Jack.
"Sure."

He has a way of saying "Sure;" as tho to emphasize
his remarks.

News had come that da)- of a decoration bestowed upon
Doug in Paris by the Ministry Beaux Arts. Two gold

palms, crossed, and suspended by a
purple ribbon. A great honor for
Doug. No actor has ever before
received this decoration, which was
originated by Napoleon and has
heretofore been awarded only to
educators.

A sketch by F. Weber

oug and Mary "have a new
stunt" — thus the conversation
continued. They like to go down
to the Orpheum sometimes, when
they're here at home. It's hard on
Mary never having a chance to
go out anywhere without being
mobbed, and at last she and Doug
have solved the difficult problem of
how to enjoy a peaceful evening at
a vaudeville show.
They buy seats in
the last row on the
aisle, dress most in-
conspicuously and
put on dark
glasses. Then they
\ slip into the theater

\ after the show has

started and out
again just before
the last act is over.
The stunt works
fine.

The n — M a r i-

lynn. Marilynn

Miller, before

whom jaded first-night Broadway has bent the knee in

homage, more than once. Marilynn of the soft golden

curls, the babyish face, the twinkling toes. The adored

"youngest star on Broadway." Jack's wife.

" Of these he will talk.

He and Marilynn are going abroad later in the summer,

he says. Marilynn is to meet Barrie. She's bringing

Peter Pan to the stage in the fall and, well, it seems a

good idea to meet Barrie beforehand. It's an awful

responsibility, you know, following Maude Adams in

Peter Pan. Sure. Jack likes London. He has lots of

friends in London. He lit another cigaret. No — he

doesn't like Paris.

Tt is later, perhaps, one remembers that Jack's first wife,
the beautiful Olive Thomas, met her tragic death in
Paris, and one senses that Jack has been remembering all
the time.

One brings him back from London — and Paris to the
sunshine and heat of the Pickford-Fairbanks lot, the rat-
tat-tat of the riveters working on the gas-tank, the light
laughter of Marilynn and some other girls playing bad-
minton on the studio court.

Jack's next picture, he says, will be made in New York.
Marilynn will be working there, he explains, as sufficient
reason why he should dosert Hollvwood. Young Mr.

PAG

{

"MOTION PICTURF

VI I MAGAZINE L

Dudley is the title
of the story and, the
plot being conveni-
ently laid in New
York anyway,
they're going to
shoot everything
i 0?r the Battery to
tne Bronx.

1-Tis ideas of what
■*■ he would like
to do in future seem
rather vague. The
majority of actors,
when one has talked
to them for one cosi-
secutive minute, will
tell one confiden-
tially of their burn-
ing desire to bring to
the screen some cer-
tain story or play, to
create some certain
character known to
history or literature.
But not Jack Pick-

K. O. Rahmn

Jack Pickford with his wife and his mother

ford. In the main,
his life has been
mapped out for
him by The Fam-
ily. One feels that
decisions as to
what Jack will
and will not do,
rest with them
usually, rather
than with him-
self. Initiative is
not developed un-
der such circum-
stances. One feels
also, that if he
did cherish a
secret longing to
create some dar-
ing, difficult role,
to depart in some
manner from the
comfortable, even
routine mapped
out for him, he
wouldn't be apt
to say anything
about it until he
had The Family's
O. K.

In some
obscure way, this
irritates me, be-,
longing as I do
among those wil-
ful persons who
consider him an
actor with tremendous possibilities. His work before the
camera is stamped with authenticity. He possesses the
rare ability to submerge himself in the character he is por-
traying. He never struts 2nd poses in the well-known
Hollywood male star manner. If his wild, primitive moun-
taineer boy in The Hill Billy isn't as genuine a portrayal
as the screen has seen this year, I'll eat my fall chapeau.
But he wont talk about himself. Facing the inter-
36
ee.

viewer, he becomes
inarticulate. He's not
thinking of his work.
He's wondering just
what sort of im-
pression he is mak-
ing on one. He is
self-conscious, lack-
ing the egotism on
which a less sensi-
tive soul might rely.
That soul of his
has been scarred.
He has seen his
name in ugly head-
lines blazed across
the world. .That
slight, nervous body
has bent before the
storm, and tho years
have passed, Jack
Pickford hasn't for-
gotten.

A s I say, it was
"^^ no sort of in-
terview. . . .

I left him presently, and the white-hot glare of the
Pickford-Fairbanks lot, with the haughty Rolls-Royce
still standing in the thickening shadows of grey stone
castle walls, and the silver minarets of Bagdad writing
fairy tales unnumbered across the sky.

But the feeling of irritation persisted. I found myself
wishing that Jack wasn't a Pickford. That he hadn't the
fortunes of Hollywood's royal family behind him. That
the rare, delicate artistry of his work might draw strength
from some hardier atmosphere. In short, that Jack
wasn't quite so smothered in The Family ermine.

After watching the sensitive play of expression across
his face for an hour, it intrigues one to muse on what
Jack might accomplish if, freed from all prejudice, he
stood alone, measured in the public eye by the merit of his
work, as an artist should be measured.

It is good work, that the boy of Seventeen, The Little
Shepherd of Kingdom Come, and innumerable other
{Continued on page 95)

Jack and Mary snapped on location during the

lunch hour, when Miss Pickford was filming

Thru the Back Door

As Chad in The Little Shepherd
of Kingdom Come

Tke Girl Who Couldn't Be Bad

B$ HENRY ALBERT PHILLIPS

Illustrations by May Cornelia Burke

Part IV

(A synopsis of Parts I-III appears on page 76)

HOLLYWOOD. California, is filled with all sorts
of things and people, just like the rest of the
world. Yet Hollywood is quite unlike all the
rest of the world. It is a weird, yet not
unlovely, combination of the real and the unreal thing.
Xature has been prodigal with Hollywood. It sets snugly
in a pocket of hills that grow in stature as they recede, all
picturesquely cut up into canyons with snowcaps crown-
ing the whole. The
little city itself is a
mass of exotic ver-
dure the year round ;
sprouting palms
everywhere giving it
the tropical touch.
But the unreal

has become the real - : ~ — —

thing in Hollywood.
Acre upon acre of
the beautiful sub-
urbs has been
usurped by the mo-
tion picture com-
panies, whose great
glass studios and
open-air stages may
be seen in every di-
rection. Here we
find the "lots"
strewn with pictur-
esque fragments of
the whole world —
Cairo, Stamboul,
Cheapside, Venice,
Cheyenne, Wall
Street, No Man's
Land, and the Bois
de Boulogne, all
within a stone's
throw of one
another.

Hollywood!
Where Rome is
built in a day and
Babylon will be
overthrown by a
handful of work-
men day after to-
morrow. Hollywood !
Where there are no
evil stepmothers to
prevent flaxen-
haired Cinderellas
from drawing their
incredible salaries
and fat men sell
their avoirdupois on
the screen for fabu-
lous sums and pretty
men and women
strut and fret their

Isabel casually read the half-finished letter Stanton had been writing,
after which she tore it into small pieces and threw it into the

fireplace

weary half-hour before the camera for never less than a
hundred dollars a day ! Hollywood ! Where limousines
clutter the gutters and real money is like German marks !
Is it any wonder that in such an atmosphere of exalted
hokum and exaggerated values some people lose their
heads and others lose their souls?

For all its loose money, beautiful women and multi-
farious temptations, Hollywood was no worse than the

average little city of
S its size. It fared
worse, tho, in the
public print because
its sinners were a
bit brazen and by
force of habit made
no effort to conceal
its crimes any more
than it did its other
soul escapades. It
simply "played"
everything before
the glaring spotlight.
Tragedy or comedy,
it must have its au-
dience. Dope party,
homicide or suicide ;
it enjoyed the gap-
ing crowd and nobly
acted the part to the
last.

In the eminently
successful circles of
Hollywood's real
workers, life was
much as it is with
you and me. Then,
of course, there was
"the bunch." Now
the bunch went in
for practically
everything that had
a kick to it : wine,
women and jazz,
and occasionally
something with the
poppy flavor.

Ctanton Braith-
**^ w a i T e was a
member of the
bunch. Every day of
the week he called
himself a fool and
won the right to it.
Stanton with his
never-failing income
was a favorite with
the bunch. He kept
a rather luxurious
apartment in Los
and tore
37

h*H &™'iSkl&M' l *KE

Angeles

tore ri

37 P
PA fill

^MOTION PICTURE

01 I MAGAZINE L

back and forth to Hollywood in his
Stutz several times a day.

Stanton was just a spoiled youth
who didn't know what he really
wanted, but thought it was wild oats.
There was one young lady in particu-
lar to help him. This was Isabel.
Isabel was a blonde person who was
undoubtedly gifted with rare bodily
charms once upon a time, the memory
of which now kept her busy most of
the time imitating them in elaborate
cosmetics. She was "made-up" from
crown to toe. But the very glamour
about her attracted Stanton from the
first. He felt smart in having made
the conquest of a "mature" beauty.
Isabel did "character" parts to perfec-
tion, altho she did her own character
part in life very badly. She seemed to
exercise a hypnotic appeal over the
boy, who forgot all the things he
should have remembered while in her
presence.

For instance, one afternoon, a short
time after Stanton had left his mother
alone at home so angrily and abruptly,
he was writing home to her and telling
her how much he really cared for her
after all, when Isabel burst into his
apartment with several breezy com-
panions. Stanton put aside his letter
with a feeling that was half relief and
half regret. The day was warm and
the Bunch were thirsting for cool
cocktails. While Stanton and one of
the boys were mixing them, Isabel
casually read the half -finished letter
Stanton had been writing, after which
r ' she tore it into small pieces and threw
it into the fireplace.

When Stanton "came to" sometime
the next morning after the Bunch had
spent the day and evening drinking
and carousing in his apartment, the
letter was not altogether forgotten,
but rather was thrust in his memory
behind a curtain of shame and self-
disgust. He felt that he was not worth his mother's con-
sideration and let it go at that, without giving due thought
to the effect on his mother.

Months passed in boisterous indolence until this par-
ticular night upon which the liveliest dinner party of the
season was planned — largely at Stanton's expense. When
Stanton dared think of it at all, he knew full well that this
was going to bring him rolling to the bottom of the hill
financially as well as morally.

The party was to be staged in Isabel's luxurious bunga-
low on the outskirts of Hollywood. Each guest was sup-
posed to pull off something startlingly original and each
could be counted on to do so.

By seven o'clock that evening Stanton Braithwaite was
already well "lit up" for the occasion and was making
his way along Seventh Street, near his apartment, hailing
every passing vehicle as a taxi which he was seeking to
take him to Hollywood. He was meandering along in
anything but a straight line when he perceived a very
oddly dressed young person, carrying a valise, directly in
his path and try as he would to pass her, he could not
avoid colliding with her.

"I beg your pardon !" said Stanton in his most polished

t manner. Altho he removed his hat with one hand, he was
38

When Hope and Stanton Braithwaite arrived at

quite unable to let go the girl's sleeve with the other. He
simply had to hold himself up by something.

The, young lady was no less awkward than he. She
stood speechless, fearful, yet with a curious pleading look
in her eyes.

"It's all my fault, you know," Stanton protested, deep-
ening his guilt. "You see "

But now the girl was smiling. His manifest kindli-
ness had disarmed her. "Wont you take me home with
you?" she asked, the smile fading into seriousness again.

Stanton scratched his head, wondering if he had heard
aright. He looked the pretty little scarecrow over again
and then grinned. He had heard that request before, but
there seemed to be a mistake somewhere this time. He
frankly did not know what to do, but was in that balmy
state of affability wherein he would not displease the devil
himself knowingly. Then the happy thought came to
him. He would take her along to the party and she would
be his "stunt" of the evening! She would make a hit
all right !

With her aid he hailed a passing taxi and again with her
aid he helped both her and himself into it. Stumbling
over the valise (thinking it was the girl), he apologized to
it. "Oh, and by the way. What's your little name?"

Fvj

Isabel's apartment, the party was in full swing

meaning to be very distant tho he was leaning against
her shoulder.

"Hope — Hope Brown," she answered simply, sighing
contentedly.

"Well, mine's Stanton," he said, somewhat doubt-
fully. "My mother and I quarreled," he added in
tearful confidence and so low that the chauffeur
would not overhear. "But we're going to a party,
Hope — some party ! You just see that I behave
myself, will you?"

HTurning from tragic comedy, we lift the curtain upon
"*■ comic tragedy.

Ezekiel and Sarah Brown arrived in Pocusville at an
early hour in the morning. Sarah's condition made it
imperative to take a hack to the house. They were amazed
to find all the shades drawn and the house still closed, for
tho it may have been early for trains, it was two hours
late for such dilatoriness as this.

Ezekiel had the key to the side door which he opened
with a jerk that gave one the impression that there was
no balm in Gilead after all.

There seemed to be someone stirring in the kitchen.
Ezekiel strode into that room and found Aunt Charity

raising her head from its favorite posi- Y
tion on the corner of the sink. The room
reeked of Parana-plus.

"You're a fine one !" snorted Ezekiel,
pulling the shades and letting them fly up
with a bang. "Pretend to be such a Chris-
tian, too ! Where are them children ?"

But Aunt Charity was speechless and
could only gaze at him with uncompre-
hending, bloodshot eyes.

Ezekiel, now furious, hastened toward
the barn with blood in his eye. A passing
neighbor called Ezekiel to the fence and
told him graphically of the high goings-
on. Ezekiel made no comment. As he
entered the barn, he took the horsewhip
from its socket in the buggy.

In the filthiest part of the stable, with
an empty bottle beside him, he found his
son. Ezekiel paused as tho he had been
struck. He felt something enter his heart
for the first time in years. An undefin-
able pain pierced his breast and his eyes
burned with a strange saltiness. The
whip dropped from his hand. His jaw
sagged and he could not speak for a mo-
ment. Then he moved unsteadily toward
the boy. one hand advanced with some-
thing of softness in its gesture.

"Hank," he murmured, dropping to
one knee and laying his hand on his
shoulder. The boy only gave an ugly
grunt. Ezekiel raised his eyes and closed
them and his lips moved in the most
fervent prayer he had ever made. As if in
answer, Hank sprang up. But there was a
fearful wildness in his eyes. "Who the hell
are you?" he cried, glaring at his father.
"Hank! Hank!" pleaded Ezekiel.
"Dont you know me? It's me, your
father !"

Hank frowned darkly for a moment,

then he seized the bottle and turned upon

him fiercely. "Father!" he cried, wither-

ingly. "You ain't no father to me. I

never had a real father ! I ain't been

thought as much of as the hogs. They

at least got enough to eat !"

Ezekiel took the bottle from his upraised hand and the

boy collapsed in his arms. He folded his arms about him

and pressed him tightly to his breast. It was the first

flesh-to-flesh contact with Sin that Ezekiel Brown had

ever known, this senseless drunken thing that he hugged

to his heart as tho it were dear to him. Ezekiel Brown

stood there alone with his fallen son for a long, long time,

to the great wonderment of the swallows that darted here

and there. One might have thought it was the boy who was

sobbing that way like a child. But it wasn't poor Hank

who was crying, but his father, hard old Ezekiel Brown !

Inside the house an equally distressing scene was taking

place.

For a long time Mrs. Brown had stood holding to the
baluster, quaking with alarm. She hastened with what
strength remained to Hope's room. She threw herself
on the bed that had not been lain in and wept bitterly.
She was the supermother now — too late.

After a long while Charity entered the room. "She
dumb down the roof and run away. She told me only the
night before that she was just going to go to the bad. but
I tell you, Sarah, she was bad anyway; got it from them
Pettingills in your mother's family."

{Continued on page 76)

39 r

PAGli

"She Walks in Beauty, Like the Night

-Lord Byron

Jobyna Ralston is just eighteen years old. She went to Hollywood with her mother less than
two years ago, and pluckily made the round of the studios until she was taken on as an
"extra" for a Hal Roach picture. Her work registered, and she remained with that company
until recently, when Harold Lloyd gave her a chance to make good as his leading lady — which

she did and is

"There is Nothing Half so Sweet in Life as Love's Young Dream"

— Sir Thomas Moore

Picturing May McAvoy and Pierre Gendron, the youthful stars of

Three Women, in one of the many lovely scenes from this picture

which is directed by Ernest Lubitsch

41 P
PAfitl

Presenting

His

Majesty,

Peter

trie

Great

Peter the Great, who has a stellar role in The Silent
Accuser, is the latest dog star on the screen. His full and
imposing title is Peter der Grosse von Osteck, meaning
Peter the Great from East Corner. He is the son of Dorn
von Oertztal, Germany's most famous police dog, who
served all thru the World War; and he is the grandson of
Alex von Westfaleheim, the highest prize police dog in that
country. Peter was three years old last April. He has
exhibited an uncanny faculty for registering his elemental
emotions before the camera. His intelligence is remarkable
and his understanding and ability are almost human

At the top of this page you see Harry Rapf ex-
plaining the terms of the contract to Peter the
Great. Above, the dog star has just put his
mark of approval on the document

Since he has signed a real contract, and is to become
a real star, Peter the Great will, of course, receive
quantities of fan mail, as do other stars. Therefore
he feels that it is necessary for him to learn the
gentle art of wielding a fountain pen

G£

At the right Peter is proving
that he is not always amiable;
that he can register other emo-
tions when necessary

Adventures Off- Scene

Charlie

and the

Cold Lamb

"TOT so

long

k 1 ago— it

was

V late

one

Sunday

afternoon — Mrs. Ben

and I were sitting

quietly in our library

reading. Like most

writers, we hadn't a

Baby Peggy thing on our minds.

Not a telephone

stirred. The cold lamb

was in the ice-box. The dinner hour approached on the

wings of the twilight.

The bell rang — twice, three times — insistently. Mrs.
Ben and I looked at one another in disarrayed dismay.
Visitors ! — and only cold lamb in the ice-box ! I went
to the door, opened it stealthily, and was about to say,
"No one lives here by that name," when two figures
dodged past me (the hall was pitch dark) and turned
on the electric light.

They were Charlie Chaplin and his old partner in a
thousand and one mystifications, Tom Geraghty.

''Have you got a bite, Boss, for two little boys from
the West who are tired of Ritz cooking and long for a
cold cut with real family atmosphere ?"

It must have been telepathic — if cold lamb can radio.
Mrs. Ben spread the feed for the two lone, lost travelers
from Hollywood — and our lamb was soon non est. After
a glorious evening in which Charlie and Tom kept us
in an uproar with imitations, stories and Houdini-like
tricks — interspersed with observations on Spinoza and
Shelley from Charlie, and philosophic quips by Tom — ■
we sent the two lone kids back to the dismal reaches of
the Ritz.

Old Man Muller is a butcher just around the corner
from our house. He is glum, morose and saturnine.
Nothing ever disturbed the even tenor of his grouch.
Mrs. Ben went marketing the morning after the visit of
Charlie and Tom, and dropped in to see Old Man Muller,
who had sold us the lamb. He was swinging a mighty
cleaver on a huge piece of roast beef and cussing war,
taxes and England under his breath.

"Who do you think ate your lamb last night?" Mrs.
Ben asked Muller casually.

"Dun know — dun know," grumbled old Muller mourn-
fully, while his five children nibbled at the bologna in the
window.

"Charlie Chaplin ate your lamb," said my wife in ring-
ing tones.

"Vass?" screamed Muller, dropping his cleaver while
his face lit up for the first time since Hindenburg took
Warsaw. "Vass? Vass? Charlie Chaplin et das lamb!
Kinder! Kinder! listen — Charlie Chaplin et papa's
lamb!" His face looked like the conquest of Paris!

With

.^<2,

Jack

le Coogan

But— and here is

And for weeks afterward Old
Man Muller could be seen with
the kids of the neighborhood
gathered about him narrating the
saga of how Charlie came to
Washington Heights to eat his
lamb.

And, incidentally, my wife re-
ceived choicer cuts than she had
ever had before.

A Star'Who Doesn't Care

[ had lunch recently with the

most enigmatical screen star
that I have ever met. She is
beautiful, famous and one of the
greatest money-makers in the world,
the astounding part of the story

This star does not know she is a -star, she does not
know she is acting, she really believes that what she does
in the studios is absolutely real, she has never read a
notice about herself, she has never seen a pay envelope,
she does not know that she is more beautiful than the
Mediterranean at night, she does not know she is the idol
of millions of people, and she has never read her name
in electric lights — and they blaze from coast to coast,
and even in Europe.

You may believe I was more mystified by this almost
inconceivable being than by anything that has happened
to me since my salary was raised voluntarily.

"Fame? Money? Beauty? I do not understand
you," she said to me as she dug into her cantaloup.
"Acting? What is that? Oh, yes, I love pictures and
think I look fine in them, but how did I get on that white
sheet?" And her beautiful dark eyes looked at me in-
genuously as much as to say, "Stop kidding me!"

And then her parents told me all about the way they
kept the soul of this star absolutely unspoiled'. Of
course, you know her now — Baby Peggy, a five-year-old
darling known to more people in her brief lifetime than
Julius Caesar in all his imperial glory.

A Midsummer Night's Dream

/"~)f the fantastic and bizarre I sing !

On my hunt for adventures off-scene I am always
looking for pictures that are "different," pictures made
directly contrary to the flat American formulas ; pictures
that wing me to remote places in the universe of time ;
pictures that induce rare moods ; pictures that stimulate
the nerves and imagination like cocktails made of
radium ; pictures that morons call "nut stuff."

I found fountains of aesthetic (hence "nutty") delight
in One Glorious Day, The Golem, Dr. Caligari, Above
All Law, and Max Fleischer's Out of the Inkwell. After
viewing the long list of Broadway triangle stories and
Open Spaces blah, I had almost despaired of getting an-
other thrill in my fantastic marrowbone when I was

{Continued on page 93) r\

43 H

PA fill

What I Can Read in trie

A Complete Analysis

CORINNE GRIFFITH

MISS GRIFFITH'S charm is in her femininity.
Because of her beauty, her gentle, easy manner,
she is given no credit for thinking. Being the
type of woman who is not always or readily understood
by men, she is frequently misunderstood when expressing
her viewpoints.

In reading her character, her mouth and chin are par-
ticularly significant. The upper lip indicates a kind,
sympathetic nature that would not wilfully hurt anyone,
a person who likes praise and appreciation, and is ready
to praise others. Here there is also shown poise and self-
control. In the lower lip is found a very affectionate
nature, and one with the maternal instinct well developed.

The small, rounded chin indicates a nature which must
have affection and calls affection forth. One who has
always been shown attention. Miss Griffith has great
nervous force, which makes up for a lack of physical
energy; she also has a very sensitive, nature, with deep
feelings. When she loves, she loves wholly; and when
a friend, she is very loyal. In the chin, too, is shown
great self-confidence.

In the jawline there are signs of a persistent nature and
much determination; strong in her likes and dislikes.
Miss Griffith is one who likes people and is interested in
human nature, but at times enjoys solitude and her own
company.

In the cheeks appear reserve, caution in making friends,
and the courage of her convictions.

In the forehead are lines which show a person who

(Continued
44

G£

REGINALD DENNY

Freulich

IT is apparent, in reading Reginald Denny's character,
that all the masculine qualities are well developed.
There is in the mouth (upper lip) self-confidence,
enthusiasm, and ardor ; in the lower lip, strong desires,
and a patriotic nature.

The jawline shows strength, determination, and much
physical endurance, an interest in human nature, and
good judgment of people.

In the chin there is shown a love of the beautiful, espe-
cially of good-looking people ; good combative qualities,
hardihood, and strong likes and dislikes.

In the cheeks there is shown daring, physical courage,
and a lack of caution. The lines around the mouth show
pride and a desire to lead and to excel ; a highly ambitious
nature.

The nose indicates aggression and high self-protection ;
ability to concentrate when interested in anything. There
is good imagination, foresight, and intuition ; a person
who would have "hunches."

Above the eyes is a good fulness ; this is where the
sign of location is found. Excellent memory for faces
is accompanied by perceptive faculties of a high order.

The lines in Mr. Denny's forehead show that he is a
person who thinks, and looks for the reasons of things.
In the side of the head there is a fulness which shows
a person with a good healthy appetite, one who likes good
things to eat and drink.

In the hands are shown ambition, a frank, outspoken
nature, and one whose opinion is not easily changed.

In making a general summary of his character, it may
be said that Reginald Denny is of a quick, active, restless
nature. One who likes lots of action. A person who
on page 89)

Faces of the Film Stars

h$ F. Vance de Revere

RUDOLPH VALENTINO

RUDOLPH VALENTINO impresses the observer
because of his innate good manners. He is well
poised, gracious, and courteous.

In reading his character, his nose is particularly notice-
able as it is very well formed. It shows a person who does
not like to do things in opposition to his tastes. We find
in the nose a vivid imagination and good constructive
ability. A person who gathers together quickly from that
which he sees and hears, and one who is combative and
has resilience. A very intuitive nature, which senses and
knows things instinctively.

The jaw indicates a very independent nature and one
that does not like interference.

In the chin is shown a love of all that is beautiful.
There is also shown great self-confidence.

The forehead has good breadth and height, showing a
good mentality. There is also shown a good memory for
locations and faces, and an interest in people.

Above the eyes the location for sound, tune and rhythm
is well developed ; one who likes dancing. There is also
shown the power of visualization ; he is a person who has
vivid mental pictures of everything. Back to the hairline
the language sign is large, showing linguistic ability. The
appetite sign is also well developed, showing one who en-
joys eating and drinking and is a good judge of foodstuff.

In the cheeks are shown daring and a love of adventure
and change. Also fine recuperative powers, and a love
of ease and comfort.

In the upper lip there is shown enthusiasm and ardor,
good poise and control. The lower lip shows a love of
animals and of children ; a warm nature. He is a person
who enjoys an argument.

(Continued

Edward Thayer Monroe

NITA NALDI

IN reading Miss Naldi's character, one is immediately
impressed with her frank, outspoken nature. Nita
doesn't mince words and is very direct, coming to the
point quickly.

Her nose indicates a very observing nature, a vivid
imagination, and constructive ability. These qualities are
found in all successful actresses or actors on the stage
and screen. There is also a dislike for minute details
and a highly intuitive nature. Her intuition is so keen
that she is not easily fooled.

Above the eyes is shown a good fulness where the
color sign is located. This denotes a nature susceptible
to colors and greatly affected by them. Here is also
shown a splendid memory for locations.

Daring and physical courage are in the cheeks, denoting
a fearless, restless person, endowed with a spirit of
adventure. A person who would try anything once. A
very intense nature.

The chin and jaw show a persistent nature, with plenty
of endurance. A love of beauty in form, shape and
coloring.

In the lobe of the ear is shown longevity. Her ears are
beautifully formed, and show a social, active nature.

In the mouth is shown a love of children and of
animals. An intense; ardent, passionate nature. One
with great regard for her friends. A good conversa-
tionalist, and one who enjoys talking, and likes people.

Her hands are very flexible, which is a quality found in
Latin people and indicates a social nature that quickly
on page 89)

45
PAG

FABLES IN CELLULOID

Margaret Norris

anc

Helen Hokinson

Kour Uiaaarv/ ^^ur uIa&u/"

}nce the villain in the play fell in love with the little ingenue,
but he did not tell her, thinking she must hate him because
he was so rough. So he passed her by, ignoring her, fearing to terrify
her if he told her. And the little ingenue's heart fluttered at the ap-
proach of the villain, but she thought he must despise her, being so
simple and demure. So they passed each other with downcast eyes.

He said, "She cannot love me, I am too fierce and rough."

So when he finished the picture he shaved off his big black
mustache, slicked back his hair with brilliantine, manicured his
nails, dressed up like a dandy and became a soft-mouthed sheik.

She said, "He cannot love me, I am so simple. He likes 'em wild."

So she made up her eyes with an almond slant, took up cigarets
and cocktails and told naughty stories in mixed company.

The next picture they met again. She looked at him and said,
"How sissy !" He looked at her and said, "How vulgar !"

Moral : Dont try to be what you arc not.

(~)nce upon a time a motion picture producer chose a thrilling
best seller to be his next picture. And he wrote his own version
of it for the scenario.

But the author looked it over and said, "I'll never let you ruin
my story like that."

So they changed it to suit the author.

And the hero read it over and said, "I'll never act in a story
where I have to do this and that."

So they changed it to suit the hero.

And the director read it over, jumped on his derby, and cried:
"I'll never direct a picture of that kind !"

So they changed it to suit the director.

When the picture was finally shown, the audience all had to be
wakened to be told it was time to go home.

Moral : Too many authors spoil the plot.

A pretty little country girl, ambitious but poor, was carrying
home a basket of eggs which she had bought from a neighbor
to put under a setting hen. She carried them in a basket balanced
on her head.

"From these eggs," she mused happily, "I will raise at least fifty
beautiful Leghorn chickens, which I will sell for $2.50 each. That
will be more than $100. Add that to what I already have and I
can fulfil the dream of my life. I can go to California and become
a movie queen. My beauty and my youth will make me irresistible.
I will be rich and famous. I will have many lovers, and thousands
of fans, and wherever I go everyone will crowd the streets to catch
a glimpse of me. How the girls at home will envy me !"

Thinking of her happy future, she tossed her head in glee, the
basket fell, and her dreams smashed in the dust with the eggs.

"Ah. my poor child !" said her mother, thinking to console her,
"dont count your chickens before they are hatched."
(J\ Moral: (See paragraph above.)
C/46

..AGE

A screen hero whose chief, claim to his salary and his name in
headlights lay in his handsome face and athletic figure,
chanced, during the making of a picture, to fall into bad company.
Instead of going home when the day's work before the camera
was finished, of eating a simple supper and getting in his beauty
sleep, as had been his wont, he spent his nights carousing midst
wine and wild women. Instead of rising with the sun, playing
eighteen holes of golf before breakfast, or galloping over the
hills on his coal-black charger, he appeared on the lot heavy-eyed
and full of sleep, long after the director had been shouting "Hero !"

Under this regime his appearance quickly changed. Dark circles
came under his eyes ; he grew puffy, and developed embonpoint.
His clothes grew tight in some spots and loose in others. At the
close of the picture the director called him, saying, "You have
changed so for the worse during this picture that no one would
recognize you in the eighth reel for the man you were in the first
reel. You are fired, your contract is broken !"

Moral : No one can burn the candle at both ends.

MARY AND MARY

study made in London, especially for this magazine, of Our Mary and
her little niece

PAG

"Now that we are all together again — "began Mr. Millburne, "mayn't I tell you about Madame?"

One Night in Rome

This picture zvas adapted for the screen by J. Hartley Manners, from his stage success bearing the same title; and zvas
directed by Clarence G. Badger. Permission was given by the Metro-Goldivyn-Mayer Company for this short novelisation

B$ H. M. HAMILTON

COULD anything be more annoying ! She was Perhaps she was not even aware of her own beauty at

many miles from Rome; the white road shim- that moment — in a riding-habit that fitted her perfectly —

mered in the blazing sunlight, and — her horse had tall, graceful, aristocratic in every gesture. Yet both

gone lame ! Disconsolately she sighed, then men's eyes bore tribute. The elder continued :

straightened her slim shoulders. "Permit me: I am George Millburne. And — Mr.

"Ah, well !" she murmured. "Cioe che sard, sard — what Richard Oake, my nephew !"

will be, will be! If I must walk, then walk I must! "Mr. Millburne?" she echoed. "Then . . . you are the

Come, you unlucky beggar !". British Ambassador ! In any case I should

Catching her horse's bridle, she started. : ^^Mffi^^^ > have met you soon. I am the Duchess

Her beautiful eyes were clouded . . . ^&k B^^ Mareno. Tonight— at the palace of

but not because of this contre- jtfk M^. my husband's father — the Prince

temps. God knew she had bit
terer things to think of !
Patiently she trudged along
that white ribbon that led to
Rome. She had gone only
a little way — then. . . .

"Is it permitted to offer
one's services?"

The big gray car had
come up behind her noise-
lessly. It stopped. Two
men — one middle-aged, one
young — looked down at
her, then they stepped out of
the car. The older man bowed.

"We are going to Rome," he
said. "If Madame cares to
ride ..."

"My horse has lamed himself,"
she smiled. "And the sun is
hot. ..."
48
ae.

'Do not ask me," said the Duchess, looking into
Richard's eyes

Danaili."

I count on being present,"

said Mr. Millburne. Then,

with a sly glance at his

nephew : "Dick, here, didn't

intend to go, but "

"Nothing could keep me
away!" cried Dick — add-
ing, with an admiring look
at the Duchess beside him :
"... now!"

She felt the color -flood her

cheeks. But the ice was

broken; they chatted gayly.

For a little while she allowed

herself to forget.

Yet it came back as they
neared the city; she grew
silent. . . . Ah, the ignominy
of it all ! She couldn't even in-
vite them in. Her husband . . .

OTION PICTURI

MAGAZINE

when she had left that morning, he
was beginning again, after a night
of debauch. She had heard him
clinking glasses with Dorando ; they
had seemed to have some huge joke
between them.

At the gate of the Palazzo
Danaili she got out of the car ; she
smiled.

"A thousand thanks !" she mur-
mured. "A rivederci!"

They were gone. She gave her
horse to a
groom, and en-
tered the house.
It seemed
strangely quiet.
Suddenly from
her husband's
room came a
stifled scream —
of terror,
of desperation,
even. A
woman's voice.
. . . "Oh, sir,
please. ..."

One stride,
and she had
reached the door
— she pushed it
open. Her hus-
b a n d, in h i s
dressing-gown,
had put his
arms about a
woman's waist
— was clumsily
trying to kiss
her.

"Oh, my
lady !" cried the
woman, break-
ing away from
him, and run-
ning to the
Duchess' side.
"Protect me!
He lured me
here ... he pretended ..."

It was the gardener's young wife. Duke Mareno
cringed before his wife's eyes, then began to murmur,
with a drunken effort at jauntiness :

"All a mistake . . . only a little joke. . . . Didn't
mean anything. ..."

Under the scorn of her gaze he seemed to wither ; she
led the woman away gently.

"I didn't understand, my lady!" moaned the terrified
voice. "This morning my husband was arrested . . .
by his orders ! Now, I know it was to get my husband
out of the way! Then ... he tried . . . with Count
Dorando to help him . . . they tried ..."

Sobs choked her. The Duchess' eyes were dr